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DECORMeRS & PAPERBMGERS 

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HINTS FOR PAINTLR5 

DLCORATOR5 AND 
PAPER-HANGERS 



CONTAINING INSTRUCTIONS AND SUGGESTIONS 
FOR HOUSE PAINTING, STENCILING, GILD- 
ING, GRAINING, PAPER-HANGING, ETC. " 



PREPARED WITH SPECIAL REFERENCE TO THE 
WANTS OF AMATEURS 



By C. GODFREY A '^^^ 

Author of "How to Mix PapAts," "Hardwood Finisher," Etc-. 



NEW YORK 

INDUSTRIAL BOOK COMPANY 
1911 



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HINTS FOR PAINTERS, DECORATORS 
AND PAPER-HANGERS 




Copyright Secured 1911 
By Industrial Book Co. 



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CONTENTS 



PAGE 

Preface 5 

Preliminary 7 

Preparation of Surfaces 7 

Materials Used 8 

Bases and Vehicles ll 

White Lead, Genuine and Adulterated 11 

Linseed and other Oils 15 

Driers 16 

Coloring Paints 17 

Blacks and Blues 18 

Yellows 19 

Browns 20 

Pinks and Reds 22 

Lakes and Orange 23 

Green 24 

Proportion of Ingredients in Mixed Paints 26 

Table showing the composition of the different coats of white 
paint, and the quantities required to cover 100 yards of 

new work 27 

Operations 28 

Preparing the Work 29 

Taste in Color 35 

Graining — General Remarks 38 

Graining in Oak, Mahogany, Rosewood, Walnut, Maple, Satin- 
wood, Granites 40 

Marbling 46 

Rules for Mixing Compound Colors 49 

Miscellaneous Receipts, for Painting Iron, Stucco, Glass; Gilding, 
Gilding on Glass, Gilding Fretwork, Painting on Gilded 
Panels, Gilding on Wood, Gilding Letters, Gilder's Size, 
Staining W^ood, Staining Floors, Varnishing, Painting Brick- 
work and Masonry, French Polish, Wood-filling, Rules for 

Painters to Observe 51 

Paper-hanging 64 

Measuring Quantity of Paper Required 66 

Trimming the Paper 70 

Hanging the Paper 72 

Hanging Ceiling Paper 76 

Borders and Freizes 77 

Repapering an Old Wall 77 

Paste 80 

Cleaning Paper Hangings 81 

Choosing the Paper 81 

Papering the Hall 96 

Stenciling 107 

Using the Stencil » . . , . e . . 110 

Cutting Stencils 118 



PRLFACL 



THIS little book is intended to furnish the practical 
house-painter and the man who wants to paint 
and decorate his own home with information suffi- 
cient to enable him to understand his business in- 
telligently. One of its objects is to deal with the nature, 
characteristics, qualities, and defects of the materials 
employed by the class of artisans for whom it is written ; 
and to limited extent this has been done with as little 
theory as possible ; high-sounding technicalities have 
also been avoided wherever the author has been able to 
make himself understood without them. 

It is thought the young painter may derive great profit 
and advancement from a careful study of this book, as 
the hints, rules, and recipes it contains are reliable, prac- 
tical, and of every-day use. 

The directions and the many fine illustrations on 
paper-hanging and decoration make this subject as plain 
as it is possible to present it. 

The author has consulted many works on the subject, 
and is indebted to many of them for much of the matter 
contained, among which may be mentioned ''Building 
Construction and Materials," ''House-Painter's Hand- 
Book," "Artists' and Tradesmen's Companion," 
"Painter's Guide," Chevreul's "Oils and Paints," Jen- 
ning's "Wall Hangings," Brown's "Decoration," and 
several other works of more or less note. To this has 
been added many things discovered by the actual ex- 
perience of the writer. 

THE AUTHOR. 

New York, November 13, 1911. 

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HINTS FOR PAINTEES 

Al^T> PAPEE-HANGEKS. 



There is a general belief abroad that anybody can execute 
all that is required of a house-painter. This is a very popular 
error; it is not so easy to prepare and apply a coat of paint 
in a thorough workmanlike manner as some may imagine. 
It is still less easy to pamt in parti colors ; and very few can 
produce a good piece of graining. 

The painter should not only be acquainted with the 
method of applying paint when it is provided for him, and 
the brush placed in his hand, but he should know the com- 
position of the colors ; the manner in which they are made, 
and the colors which must harmonize with each other when 
they are associated together. These observations being of a 
practical nature and the result of experience, are commended 
for his perusal and study. 

Preparation. — All surfaces painted should be first 
thoroughly dry and free from dust. All heads of nails should 
be punched or " set " below the surface of the wood, and 
after the priming is dry, the holes formed by the heads, as 
well as all cracks, defects, etc., should be filled up with putty 
made of raw linseed oil and whiting. To prevent knots or 



8 HINTS FOR PAINTERS 

" fat " spots from showing through, they should receive two 
coats of shellac varnish, and when dry rubbed down with 
sand-paper. TJie shellac should be applied with a small 
brush. It dries soon and may be painted over as soon as 
dry. Shellac prepared this way is called " knotting," and 
can be purchased wherever painters' materials are kept for 
sale.- 

Materials. — The principal materials used for painting, 
/>., white lead and oxide of zinc, are so well known that it is 
unnecessary to allude particularly to their manufacture at 
present. Before using them they should be mixed with pure 
raw linseed oil. Turpentine may be used in cold whether to 
make the paint work easy, as the oil is apt to chill, which 
*irickens it and makes it difficult to apply. In warm weather, 
i.owever, turpentine should not be used in priming any parts 
where the sun shines upon. In cold weather it is always 
necessary to use hth.irge or some other drier; or the work 
will remain a long time before it hardens ; in summer, how- 
ever, driers in most cases are unnecessary, for if the wood to 
be painted is as well seasoned as it ought to be there is little 
danger of the paint being washed off by rain, as it will mostly 
be absorbed in the surface. 

To make satisfactory worK it is imperative that all cans, 
pots and brushes used in painting be perfecdy clean at the 
start, and kept so whenever the conditions will permit. A 
marble slab and muller will be required to grind the finer 
colors used. Sometimes a small cast-iron mill will be found 
useful not only to grind colors; but to pass the tinted color 
through, so that it may be thoroughly mixed. It is scarcely 
necessary to say that it is presumed the workman will know 
what brushes he will require according to the work he has in 
hand. His large ground paint brush, called a "pound- 



AND PAPER-HANGERS 





10 HINTS FUR PAINTJiRS 

brush ; " his half-size, for smaller work ; his fitch and sash 
tools, duster, pallet, putty and hasp knives; oval and flat 
varnish brushes, varnish-pot, step-ladders and long ladders, 
mahl-stick, pallet-board, gildmg-knife, camel and sable hair- 
pencils, whitewash brushes, jack for window work, cushion, 
tip-pole, etc., etc. 

Large brushes, such as 6-0 size, should be bridled when 
new by winaing gpod twine around them about one-third up 
the length of the bristles, and as the brush wears, this binding 
can be unwound. Care should be taken to use the brushes 
so that they will have a flat wedge-shaped jjoint, straight on 
the edge. This can be done by holding the brush always in 
one position. If brushes are turned round and round in the 
hand while in use, they wear round and stubby on the point 
md soon become useless for fine or smooth work. 

Brushes that are in use every day should be placed in water 
half the depth of the brisdes at night, taking care that brushes 
containing different colors do not come in contact with one 
another. If they are to be laid aside for any length of time, 
however, they should be washed with warm water and soap 
after being thoroughly cleansed with turpentine, and laid 
away in a moist place. 

As a general thing it is better to buy putty already made 
at a regular paint store, where you may depend upon its being 
made of good whiting and linseed oil than to make it. Putty 
should not be used until the work has been primed, for new 
paint holds the putty very firmly. 

White lead is to be judged of by being well ground and 
possessing the mellowness given to it by age. 

It is well known amongst painters that the best article is 
the most economical, as it works out with more ease, and 
repays the difference of cost in its better appearance and 
extra durability. Linseed oil is also better for having due 



AND PAPER-HANGERS 



11 



age, for the same reasons as the white lead, working with 
softness and advantage after parting with the water, which is 
generally combined with new oil. 

In most cases driers are added to paints to cause them to 
dry mo'"e quickly, and a solvent is sometimes required to make 
the paints work more freely. When the color required differs 
from that of the main paint used, the desired tint is obtained 
by adding a staining or coloring pigment. The materials 
generally employed may, for convenience, be classed as 
follows : 

Bases. — White lead, red lead, zinc white, oxide of iron. 
Vehicles. — Oils, spirits of turpentine. Solvents. — Spirits of 
turpentine. Driers. — Litharge, acetate of lead, sulphate of 
zinc and binoxide of manganese, red lead, etc. Coloring 
Pigments. — Ochres, lampblack, umber, sienna, and many 
metallic salts that will be hereinafter mentioned 

White lead may be obtained either pure or mixed with 
various substances, such as sulphate of baryta, sulphate of 
lead, whiting, chalk, zinc white, etc. These substances do 
not combine with oil as well as does white lead, nor do they 
so well protect any surface to which they are applied. Sul- 
phate of baryta, the most common adulterant, is a dense, 
heavy, white substance, very like white lead in appearance. 
It absorbs very little oil, and may frequently be detected by 
the gritty feeling it produces when the paint is rubbed be- 
tween the finger and thumb. 

White Lead is sold either dry, in powder or lump, 
or else ground in oil in a paste containing from 7 to 9 
per cent, of linseed oil, and more or less adulterated, 
unless specially marked " genuine." When slightly adulter- 
ated with a very white sulphate of baryta, like that of 
the Tyrol, the mixture Is considered preferable for cer- 



12 HINTS FOR PAINTERS 

<ain kinds of work, as the baiytes communicates opacity to 
the color and protects the lead from being speedily dark- 
ened by sulphurous smoke or vapors. White lead improves 
by keeping, and when of good quality, will go much further 
and last much better than when employed fresh ; moreover, 
paint made with new lead has a tendency to become yellow. 
It should not be exposed to the air or it will turn grey. 

Of all the bases used for paints, white lead is the most 
commonly used, and for surfaces of wood it affords in most 
cases the best protection, being dense, of good body, and 
permanent. It has the disadvantage, however, of blazening 
when exposed to sulphur acids, and of being injurious to 
those who handle it. 

Red lead is produced by raising imissicot (the commercial 
name for oxide of lead) to a high temperature, short offision, 
during wnich it absorbs oxygen from the air and is converted 
into red lead or miniiun, an oxide of lead. The color is last- 
ing, and is unaffected by light when it is pure and used alone, 
but any preparation containing lead or acids mixed with it 
deprive it of color, and impure air makes it black. It may 
be used for a diier, as it possesses many of the properties of 
litharge ; it is also often employed in painting wrought .oc 
work, to which it adheres with a tenacity not equalled by 
any other paints ; it is sometimes objected to for this purpose, 
on the ground that galvanic action is set up between the lead 
and the iron. It is also frequently used tor priming on wood 
work, and is especially adapted for hard woods. It is fre- 
quendy adulterated with brick dust ; this may be detected by 
heating the powder in a crucible, ar^d treating it with dilute 
nitric acid ; the lead will be dissolved but the brick dust will 
remain. It is also adulterated with colcother, a sesquioxide 
of iron. Sulphide of antimony, or antimony vermilion, is 
sometimes used as a substitute for red lead. It is sold in a 



AND PAPER-HANGERS 



13 



very fine powder, without taste or smell, and which is insolu- 
ble in water, alcohol, or essential oils. It is but little acted 
upon by acids, and is said to be unaffected by air or light. 
It is adapted for mixing with white lead, and affords an in- 
tensely bright color when ground in oil. 

Oxide of zinc, or zinc white, is durable in water or oil ; it 
dissolves in hydrochloric acid; it does not blacken in the 
presence of sulphuretted hydrogen ; and it is not injurious to 
the men who make it, or to the painters who use it ; but on 
the other hand, it does not combine with oil well, and is 
wanting in body and covering power, and is difficult to work. 
It is easily acted upon by the carbonic acid in rain water, 
which dissolves the oxide, and it therefore is unfit for outside 
work. The acids contained in unseasoned wood also have a 
great effect upon it. When pure and used for inside work, 
: retains its color well, and will stand washing for many years 
without losing any of its freshness. When dry it becomes 
very hard, and will take a fine polish. This paint is suitable 
for any place that is subjected to vapors containing sulphur, 
or in places where foul air is emanated from decaying animal 
matter. In such positions, of course, zinc paints should not 
be mixed with " patent " or other driers which contain lead. 
The best driers to employ with it are sulphate of manganese 
and sulphate of zinc. This white is recommended as being 
preferable to white lead for painting on a dark ground. The 
reason of this is that the soap formed by the combination of 
the lead and oil in lead paints is semi-transparent, and the 
dark ground shows through it. The want of density, how- 
ever, in zinc paints, is a great drawback to their use, and the 
purest zinc oxide is not always the best for paint on account 
of its low specific gravity ; and in this respect, the American 
zinc whites, which are frequently very pure, do not generally 
give as good satisfaction as the zinc whites made in Belgiuni. 



14 



HINTS FOR PAINTERS 





The tall panels should be filled in with a bright red 
or a strong yellow tapestry in a single color, or a 
figured yellow tapestry having a silk damask effect 
The woodwork is intended to be finished in deep ivory, 
with a stenciled design in gold on the square panels 
in the base. 

The frieze should be very light in tone, preferably 
an ivory colored burlap or buckram. - 



AND PAPER-HANGERS. 



15 



Vehicles. — Oils are divided into two classes — fixed oils 
and volatile oils. Fixed oils are extracted by pressure from 
vegetable substances, they are of a fatty nature, do not 
evaporate in drying, and will bear a temperature short of 500° 
Fahr., without decomposing. They are subdivided into dry- 
ing oils, which become thick upon exposure to air. Of these, 
linseed oil is most commonly used as an ingredient for paint. 
Its qualities when pure are excellent, and it may be con 
sidered the best of all oils for use in paint, putty, and other 
similar substances. It oxidizes and becomes thick upon ex- 
posure to the air. This property is very much increased by 
adding other substances to it and boiling them together. It 
is superior in drying powers, tenacity, and body to any other 
fixed oil. The best oil comes from the Black Sea and the 
Baltic ; that from the East Indian seed is inferior, as the seed 
is less carefully cleaned, and contains too much stearine. 
Raw linseed oil is clear and light in color, works smoothly, 
and is used for internal works, for delicate tints, and for grind 
ing up colors. Boiled oil is much thicker, darker, and more 
apt to clog. It is used for outside work, as its greater body 
and rapidity \] drymg make it a quicker and more efficient 
protection. 

Volatile Oils are generally obtained by distillation, and 
have an odor resembling that of the plant from which they 
are obtained. They are, as a rule, colorless at first, but upon 
exposure to air and liglit they become darker, thicker, and 
eventually are converted into a kind of resin. Spirits of tur- 
pentine is the best variety of this class for mixing with ordin- 
ary paints. Naptha and benzine are sometimes used instead 
of turpentine, but not often, and their use is not recommended 
when the latter can be obtained. Good spirits of turpentine 
is lighter in weight and more inflammable than bad. It is 



16 HINTS FOR PAINTERS 

colorless and has a pleasant pungent smell, whereas the smell 
of inferior qualities is disagreeable. It is used as a solven* 
for resins and other substances in making varnishes ; also m 
paint to make it work more smoothly. It is useful also in 
flatting coats, but will not stand exposure to the weather. 

Driers. — Driers are substances added to paint in order 
to cause the oils to thicken and solidify more rapidly. The 
action of these substances is not thoroughly understood. 
Chevreuil has shown that the drying of Unseed oil is caused 
by the absorption of oxygen ; and there can be no doubt that 
for the most part driers act as carriers of oxygen to the oil, a 
very small quantity producing considerable effects. 

The best driers are those which contain a large proportion 
of oxygen, such as litharge, acetate of lead, red lead, sulphate 
of zinc, verdigris, etc. They are sometimes used to improve 
the drying qualities of the oil with which the paint is mixed, 
or they may themselves be ground up with a small quantity 
of oil, and added to the paint just before it is used. 

Litharge or oxide of lead is the drier most commonly used, 
and is produced in extracting lead from its o^es. It can be 
produced on a small scale by scraping off t'-e dross which 
forms on molten lead exposed to a current ot air. Massicot 
is a superior kind of litharge, being produced by heating lead 
to an extent insufficient to fuse the oxide. Sugar of lead, or, 
as it is more frequently called, acetate of lead, ground in oil, 
and copperas and white vitriol (sulphate of zinc), are also 
used as driers, especially for light tints. Oxide of manganese 
is quicker in its effects, but is of a very dark color, and seldom 
used except for deep tints. Japanners' gold size and verdi- 
gris (acetate of copper) are also much used for dark colors. 
Care must be taken not to apply too much of the size, or it 
will make the paint brittle. Red lead (oxide of lead) is often 



. AND PAPER-HAN(iERS. J 7 

used as a drier when its color will not interfere with the tint 
required. It is not so rapid in its action as litharge or 
massicot. Sulphate of manganese is the best drier for zinc 
white, about 6 or 8 ounces only being used for loo lbs., of 
ground zinc white paint. The manganese should be mixed 
with a small quantity of the paint first, and then added to the 
bulk. If great care be not taken in mixing the drier the work 
will be spotted. Sulphate of zinc is also a good drier for zinc 
paint. 

Patent driers contain oxidizing agents, such as litharge or 
acetate of lead ground and mixed in oil, and therefore in a 
convenient form for immediate use. There is great danger, 
however, in using such driers, unless they are of the best 
quality from a reliable maker. Some of the inferior descrip- 
tions depend for their drying qualities upon lime. 

The following points should be observed in using driers : — 

I St. Not to use them unnecessarily with pigmei ts which 
dry well in oil color. 

2d. Not to employ them in excess, which would only re- 
tard the drying. 

3d. Not to add them to the color until about to be used. 

4th. Not to use more than one drier to the same color. 

5th. To avoid the use of patent driers, unless known to be 
of good quality. 

6th. To avoid the use of driers in the finishing coat of fight 
colors, as they are liable to injure the color. 

Coloring Pigments. — It will be impossible in a small 
work of this sort to give anything like a complete list of the 
pigments used to produce the colors and tints used by the 
house painter and decorator. A few of the most useful may, 
however, be mentioned. It is not proposed to give a detailed 
description of them, but merely to distinguish those that are 



Ig HINTS FOR PAINTERS 

injurious from the others. Many of these, such as the ochres, 
umbers, etc., are from natural earths ; others are artiticidlly 
made. They may generally be purchased either in the form 
of dry powder or ground in oil. 

Blacks. — Lampblack is the soot produced by burning oil, 
resin, small coal, resinous woods, coal tar or tallow. It is in 
the state of very fine powder ; w^rks smoothly ; is of a dense 
black color and durable, but dries very slowly in oil. 

Vegetable black is a better kind of lampblack made from 
oil. It is very light, free from grit, and of a good color. It 
should be used with boiled oil, driers, and a little varnish. 
Raw linseed oil or spirits of turpentine keeps it from drying. 

Ivory-black is obtained by calcining waste ivory in close 
vessels and then grinding. It is intensely black when pro- 
perly burned. Bone-black is inferior to ivory-black, and pre- 
pared in a similar manner from bones,. Blue-black and 
Frankfort black of the best quality are made from vine twigs ; 
inferior qualities from other woods charred and reduced tc 
powder. In Europe some other blacks are used, but we 
seldom meet with them in this country. 

Blues. — Prussian blue is made by mixing prussiate of 
potash with a salt of iron. The prussiate of potash is obtained 
by calcining and digesting old leather, blood, lioofs, or other 
animal matter with carbonate of potash and iron filings. 
This color is much uced, especially for dark blues, making 
purples, and intensifying black. It dries well with oil. 
Slight differences in the manufacture cause considerable vari- 
ation in tint and color, which leads to the material being 
known by different names — such as Antwerp blue, Berlin 
blue, Haerlem blue, Chinese blue, etc. Indigo is produced 
by steeping certain plants in water, and allowing them to 
ferment. It is a transparent color ; works well in oii or 



AND PAPER-HANGERS. 19 

water, but is not durable, especially when mixed with white 
lead. 

Ultramarine was originally made by grinding the valuable 
mineral Lapis lazuli. Genuine ultramarine so made is very 
expensive, but artificial French and Gennan ultramarines are 
made of better color, and cheaply, by fusing and washing 
and reheating a mixture of soda, silica, alum, and sulphur. 
This blue is chiefly used for coloring wall papers. 

Cobalt blue is an oxide of cobalt made by roasting cobalt 
ore. It makes a beautiful color, and works w^ll in water or 
oil. 

Smalt, Saxon blue and Royal blue are colored by oxides 
of cobalt. 

There are a few other blues, such as Celestial or Brunswick 
blue, damp blue and verditer, that are chemical compounds, 
compounds of alum, copper, lime, and other substances ; but 
they are so seldom used in this country that it is unnecessary 
to describe them in detail. 

Yellows. — Chrome yellows are chromates of lead, pro- 
duced by mixing dilute solutions of acetate or nitrate of lead 
and bichromate of potash. This makes a medium tint known 
as " middle chrome." The addition of sulphate of lead makes 
this paler, when it is known as " lemon chrome," whereas the 
addition of caustic lime makes it " orange chrome " of a 
darker color. The chromes mix 'well with oil and with white 
lead either in oil or water. They stand the sun well, but like 
other lead salts, become dark in bad air. Chrome yellow is 
frequently adulterated with gypsum. 

Naples yellow is a salt of lead and antimony, supposed to 
have been originally made from a natural volcanic product at 
Naples. It is not so brilliant as chrome, but has the same 
characteristics. King's yellow is made from arsenic, and is 



20 HINTS FOR PAINTERS 

therefore a dangerous color to handle, or use for internal 
work. It is not durable, and it injures several other colors 
when mixed with them. Chinese yellow, arsenic yellow, and 
yellow orpiment are other names for this yellow. 

Yellow ochre is a natural clay colored by oxide of iron, 
and found abundantly in many parts of the world. It is not 
very brilliant, but is well suited for distemper work, as it is 
not affected by light or air. It does not lose its color when 
mixed with lime washes as many other colors do. There 
are several varieties of ochres, all having the same character- 
istics differing only in color which varies from a golden to a 
dark brown. 

Terra De Sienna, or raw Sienna, is a clay, stained with 
oxides of iron and manganese, and of a dull yellow color. It 
is durable both in oil and water, and is useful in all work, 
especially in graining. 

Browns. — Browns generally owe their color to oxide of 
iron. Raw umber is a clay similar to ochre colored by oxide 
of iron. The best comes from Turkey ; it is very durable 
both in water and in oil; does not injure other colors when 
mixed with them. 

Burnt Umber is the last mentioned material burnt to 
give it a darker color. It is useful as a drier, and in mixing 
with white lead to make a stone color. 

Vandyke Bro"wn. — This color is an earthy dark brown 
mineral ; it is durable both in oil and water, and is frequently 
employed in graining. 

Purple Brcwn is of a reddish-brown color. It should 
be used with boiled oil — and a little varnish and driers for 
outside work. 

Burnt Sienna is produced by burning raw sienna. It 
is the best color for shading gold. 



AND PAPER-HANGERS 



21 




22 HINTS FOR PAINTERS 

Brown Pink is a vegetable color often of a greenish hue. 
It works well in water and oil, but dries badly, and will not 
keep its color when mixed with white lead. Spanish brown 
and brown ochre are clays colored naturally by various oxides. 

Reds. — Carmine, made from the cochineal insect, is the 
most brilliant red color known. It is, however, too expensive 
for ordinary house painting, and is not durable. It is some- 
times used for inside decoration. 

Red Lead. — This color has already been described on 

page 1 1 . 

Vermilion. — This is a sulphide of mercury in a natural 
state as cimiabar. The best comes from China. Artificial 
vermilion is also made both in China and in this country 
from a mixture of sulphur and mercury. Genuine vermilion 
is very durable, but when mixed with red lead, as it is some- 
times, it will not stand the weather. It can be tested by 
heating in a test tube ; if genuine it will entirely volatilize. 
German vermilion is the tersulphide of antimony, and is of 
an orange-red color. 

Indian Red. — This color is a ground hematite ore 
brought from Bengal ; it is sometimes made artificially by cal- 
cining sulphate of iron. The tints vary, but a rosy hue is con- 
sidered the best. It may be used with turpentine and a little 
varnish to produce a dull surface, drying rapidly, or with boiled 
oil and a little driers, in which case a glossy surface will be 
produced, drying more slowly. 

Chinese Red and Persian red are chromates of lead, 
produced by boiling white lead with a solution of bichromate 
of potash. The tint of Persian red is obtained by the em.- 
ployment of sulphuric acid. 

Venetian Red is obtained by heating sulphate of iron 
produced as a waste product at tin and copper works. It 



AND PAPER-HANGERS 



22^ 



is often adulterated by mixing sulphate of lime with it during 
the manufacture. When pure, it is often called " bright red." 
Special tints of purple and brown are frequently required, 
which greatly enhance the value of the material. These 
tints should be obtained in the process of manufacture, and 
not produced by mixing together a variety of different shades 
of color. When the tint desired is attempted to be obtained 
by this lattei course it is never so good, and the materials 
produced are known in the trade as ' faced colors,' and are 
of inferior value. 

Rose Pink. — This is made of a sort of chalk or whiting 
stained v.iin a, tincture of Brazil wood. It fades very quickly, 
but it is used for paperhangings, common distemper, and foi 
staining cheap furniture. 

Lakes. — These are made by precipitating colored vege- 
table tinctures by means of alum and carbonate of potash. 
The alumina combines with the organic coloring matter and 
separates it from the solution. The tincture used varies in 
the different descriptions of lake. The best, made from 
cochineal or maddr?r, is issed for internal work. Drop 
lake is made by dropping inixture of Brazil wood through 
a funnel on to a slab. The drops are dried and mixed into 
a paste with gum water. It is sometimes called " Brazil wood 
lake." Scarlet lake is made from cochineal ; so also are 
Florentine lake, Hamburg lake, Chinese lake, Roman lake, 
Venetian lake and Carminated lake. 

Orange. — Chrome orange is a chromate of lead, brighter 
than Vermillion, but less durable. Orange ochre is a bright 
yellow ochre burnt to give it warmth of tint ; it dries and 
works well in water or oil, and is very durable. It is known 
also as Spanish ochre. Orange red is produced by a further 
oxidation than is required for red lead. It is a bright'"'" and 
better color. 



24 HINTS FOR PAINTERS 

Greens. — These, of course, may be made by mixmgblue 
and yellow together, but such mixtures are less durable than 
those produced direct from copper, arsenic, etc. The latter 
are, however, objectionable for use m distemper or on wall 
papers, as they are very injurious to health. Brunswick 
green of the best kind is made by treating copper with 
sal-ammoniac. Chalk, lead and alum are sometimes added. 
It has rather a bluish tinge ; dries well in oil, is durable, and 
not poisonous. Common Brunswick green is made by mix- 
ing chromate of lead and Prussian blue with sulphate of 
baryta. It is not as durable as real Brunswick green. 
Mineral green is made from bi-basic carbonate of copper ; it 
weathers well. Verdigris is acetate of copper. It furnishes 
a bluish-green color, durable in oil or varnish, but not in 
water ; it dries rapidly, but requires great care in using owing 
to its poisonous qualities. Green verditer is a carbonate of 
copper and lime; is not very durable. Prussian green is 
made by mixing different substances with Prussian blue. 
There are a number of other greens made from copper, but 
they all possess in a greater or lesser degree, the same quali- 
ties as the for-egoing. Emerald or Paris green is made of 
verdigris mixed with a solution of arsenious acid. It is of a 
very brilliant color, but is very poisonous ; is difficult to grind, 
and dries badly in oil. It should be purchased ready ground 
in oil, as in that case the poisonous particles do not fly about, 
and the difficulty of grinding is avoided. Scheele's green and 
Vienna green are also arseniates of copper, and highly poison- 
ous. Chrome green should be made from the oxide of 
chromium, and is very durable. An inferior chrome green 
is made, however^ by mixing chromate of lead and Prussian 
blue, as above mentioned, and is called Brunswick green. The 
chrome should be free from acid or the color will fade ; it may 
be tested by placing it for several days in strong sun-light. 



AND PAPER-HANGERS 



25 




DECORATION OF DEN OK SMOKING KOOM. 

Lower wall covered with dark red burlap, divided into 
panels by bamboo strips; upper third huog with coarse Jap- 
matting. 



26 HINTS FOR PAINTERS 

Proportions of Ingredients in Mixed ir^aint. — 

The composition of paints should be governed by the nature 
of the material to be painted. Thus the paints respectively 
best adapted for painting wood and iron differ considerably. 
The kind of surface to be covered, i. e , 2 porous surface re- 
quires more oil than one that is impervious. The nature and 
appearance of the work to be done. Delicate tints require 
colorless oil ; a flatted surface must be painted without oil, 
which gives gloss to a shining surface. Again, paint used for 
surfaces intended to be varnished must contain a minimum 
of oil. The climate and the degree of exposure to which the 
work will be subjected; thus, for outside work boiled oil is 
used, because it weathers better than raw oil. Turps is 
avoided as much as possible, because it evaporates and does 
not last ; if, however, the work is to be exposed to the sun, 
turps are necessary to prevent the paint from blistering. The 
skill of the painter also affects the composition; a good work- 
man can lay on even coats with a smaller quantity of oil and 
turps than a man who is unskilful ; extra turps, especially, 
are often added to save labor. The quality of the materials 
makes an important difference in the proportions used. 
Thus more oil and turps will combine with pure than with 
impure white lead ; thick oil must be used in greater quantity 
than thin oil. When paint is purchased ready ground in oil, 
a soft paste will require less turps and oil for thinning than 
a thick paste. Lastly, the different coats of paint vary in 
their composition; the first coat laid on to new work requires 
a good deal of oil to soak into the material ; on old work the 
first coat requires turpentine to make it adhere; the inter- 
mediate coats contain a proportion of turpentine to make 
them work smoothly, and to the final coats the coloring 
materials arc added, the remainder of the inr;redients being 



AND PAPER-HANGERS. 



27 



varied as already described, according as die surface is to be 
glossy or flatted. 

The exact proportion of the ingredients best to be used in 
mixing paints varies according to their quaHty, the nature of 
the work required, the chmate, and other considerations. 
The composition of the paint for the different coats also varies 
considerably. The proportions given in the following table, 
must, therefore, only be taken as an approximate guide when 
the materials are of good quality. 
Table showing the composition of the di^erent coats of white 

painty and the (juantities required io cover i oo yards of neivly 

worked pine. 



Inside ivnrk, 
4 coats 7iot flatted. 

Priming 

2d Coat 

3d Coat 

4t]i Coat 

Inside work, 4 
coats aiuiflatting. 

Priming 

2d Coat 

3d Coat 

4th Coat 

Flatting 

Outside luof-k 
4 coats not flatted. 

Priming 

2d Coat 

3d Coat, 

'ilh Coat 



q 

1 


w 

IbH. 


i 

pts. 


M W 

3 


p4 

1 


i 
ft 


ibs. 


lbs. 


* 


IG 


G 







1_ 




15 


-o\ 


— 


U 


1 


— 


13 


'4 


— 


1^ 


4 




13 


n 




n 


i 


u 


16 


G 






1-8 




12 


4 





U 


1-10 





12 


4 








1-10 





12 


4 








1-10 


~ 


9 





" 


3* 


1-10 


2 


18.1 


2 


2 




1-8 





15 


2 


2 


h 


1-10 


— 


15 


2 


2 


-^ 


1-10 


— 


15 


3 


2.V 





1-10 



Sometimes more red lead is 
used and less drier. 

■^'^ometimes just enough red 
lead is used to give a flesh- 
colured tint. 



When the finished color is 
not to be pure white, it is 
better to have nearly all the 
oil boiled oil. All boiled oil 
dot-s not work well. For 
pure white a larger propor- 
tion of raw oil is necessary, 
because boiled oil is to© 
dark. 



28 HINTS FOR PAINTERS 

For every loo square yards, besides the materials enumer- 
ated in the foregoing, 2^/^ lbs. of white lead and 5 lbs of 
putty will be required for stopping. 

The area which a given quantity of paint will cover de- 
pends upon the nature of the surface to which it is applied, 
the proportion of the ingredients and the state of the weather. 
When the work is required to dry quickly, more turpentine 
is added to all the coats. 

In repainting old work, two coats are generally required, 
the old painting being considered as pnming. Sometimes 
another coat may be deemed necessary. 

For outside old work exposed to the sun, both coats should 
contain one pint of turpentine and four pints of boiled oil, 
the remaining ingredients being as stated in the foregoing 
table. The extra turpentine is used to prevent blistering. 

in cold weather more turpentine should be used to make 
the paint flow freely. 

Operations. ~ All priming should be rubbed out as far 
as possible, for if it is flowed out loosely or laid on thick it 
will be apt to blister and run. In priming over spots, how- 
ever, where patching is bemg done, it may sometimes be 
necessary to leave the coat thick or heavy, for new work can 
never be re-touched and look well, after the work is second 
coated or finished ; for such re-touching would show and 
spoil the whole work. In priming the paint should flow 
easily, and the brush should be pressed on to the wood so 
that the paint will be forced into t'.:e pores. In all cases it 
is a great saving of time to cover as large a surface as con- 
venient before smoothing or finishing off. All work on the 
same surface should be finished at the one application, if 
possible, for " laps " — which form the junctions of work done 
at different times — should be avoided wherever they can, as 



AND PAPER-HANGERS. 29 

tney are sure to disfigure the work where they exist, Of 
course, it is sometimes impossible to avoid laps, but where 
they must occur, care should be taken to make the connection 
with as little " lap " as possible or it will be certain to show 
through the work when finished. The defect, if occurring 
during the second coating, will show much worse than in the 
priming coat. 

In painting, like everything else, a system must be followed 
to make much headway. Experience, perhaps, is the only 
effective teacher in this matter ; and any rules laid down by 
us will have but litde effect, if the operator does not, or can 
not systematize. The workman who follows a system will 
do nearly twice as much work with less labor, than the man 
.who works only by the rule of thumb. In painting blinds, 
lattices, railings, cut brackets or other similar work, some 
:nethod of operation should be adopted. A little observation 
)n the part of the operator, will soon teach him the best 
methods to adopt in doing any particular kind of work. 

Preparing the Work. — In preparing work for paint- 
ing, too much care cannot be exercised, as succeeding coats 
and the final result depend very much on the proper con- 
dition of the work when the priming coat is applied. First, 
all the rough places in the wood should be rubbed down 
with a block covered with sandpaper ; and the mouldings 
and beads should be well cleaned out with sandpaper. Then 
(and this is a matter of prime importance) every knot, how- 
ever small, every indication of sap on the wood, or discolor- 
ation of any kind, and every appearance of pitch or gum, 
should be carefully varnished over with white shellac varnish, 
if the work is to be finished in white or light tints — or with 
varnish made from unbleached or common shellac, if the 
work is to be finished in dark shades. The common shellac, 



30 HINTS FOR PAINTERS 

in the latter case, answers equally well with the bleached 
article, and at less cost. This should not, under any circum- 
stances, be neglected, as it is impossible, in the nature of 
things, otherwise to make good work. 

When work is to be finished with two coats, the putty used 
for stopping the nail-heads and other indentations should be 
made of white lead, worked up with common whiting to the 
proper consistency, and the filling should be done after the 
first coat shall have become well dried. When more than 
two coats are to be applied, the filling should be done 
between tiie lirst and second coats, with ordinary pure linseed- 
oil putty. 

It should be adopted as a rule, never to apply pure white 
as a priming coat ; no matter whether the work is to be 
finished with one or four coats, the result will always be more 
satisfactory if the first coat be stained. A little finely-ground 
lampblack answers as well for this as anything. 

The only way to produce solid, uniform work, is by mak- 
ing every succeeding coat lighter in tint than the one which 
preceded it. This is especially the case with walls, and other 
extended flat surfaces. No matter what the finish is to be, 
the first coat should always be darker than the one which 
succeeds it ; and the darker the shade of the finishing coat, 
the more important it is that this rule should be observed. 
If the work is to be finished with black, prime with black. 
If with green, let that be the color of all the preceding coats. 
If with blue, let that color be the ground work. What can 
be more stupid than applying to work which is to be finishel 
in imitation of black walnut a priming coat of white? Ah 
work should be primed especially with regard to the finishing 
color. 

There is not half enough of dark colors used in priming 
applications. Venetian red, finely ground in boiled oil, 



AND PAPER-HANGERS 



31 







O O « O .0 o 



» a o a /8 a 




e^ o <5 s> » o a 


s 


c c e. a 


, 




" ', « 








8 




' "-» 


a -~ ^ 




s 


a 




,. -■{ 






.\ ~l «- 


* \ - ; 




-SV • - « 


» - V. ^ ^ .' 




-^^ ■-■^^,0 


& - V - 




-V'J ' ^-^fi 








0, * c o © a 


■ » 


-'^■'C-^c-'c 



o e o 



CO q e 



8 ■■:<-'■■- v-J-^ 


e 


« 


*°:i 


0- - 

9" '^C. 






e 

ft 
e 


0" '.■'<s\fi '0 'e« 


a 





« '« 



32 HINTS FOR PAINTERS 

leeply stained with black — and used very thin, in order to 
stain the wood as much as possible — is the best first coat for 
work which is to be finished in imitation of black walnut or 
other dark wood. The succeeding coats should be as dark 
as may be with a view to the proper shade of ground-work 
for the grainmg. In such case, if (as must happen in the 
ordinary course of events) the work becomes bruised or 
•' chipped " — by an accidental knock from a chair leg or other 
article of house furniture — the general appearance of it is 
little impaired thereby. Quite the contrary, however, is the 
case if the underneath coats are white. Then, an accident 
of the kind before m.entioned, shows a white spot, which 
staringly proclaims the work to be a delusion and a sham. 
Dark colors, too, as the Venetian red before mentioned, 
make better foundations than white lead or zinc. They dry 
harder and " rub " better, and, what is most important, cost 
less. 

This matter having been duly considered, let us now pro- 
ceed to the coats succeeding the first. Before applying a 
second coat, the first should be carefully rubbed, and all the 
nail-heads and other indentations carefully stopped with 
pure linseed-oil putty — using for flat surfaces a square- 
bladed putty-knife. Puttying with the fingers should never 
be tolerated (good work is now the subject under consider- 
ation). This done, the whole should be carefully examined 
to ascertain if the oil in the former coat shall have revealed 
any resinous or pitchy spots, not previously covered with 
the shellac. These preliminaries being attended to, the work 
may be considered ready for a second coat. The directions 
as to rubbing with sandpaper are to be observed in all the 
succeeding coats. As a rule, on interior work, paint should 
never be applied to a surface which has not been previously 
rubbed. 



AND PAPER-HANGERS • 33 

Sandpaper for fresh work and pumice-stone for old work. 
Always distrust the education of a painter in his trade who 
goes to work without a lump of pumice-stone, a sheet of 
sandpaper, a putty-knife, and a rag to wipe off the spatters 
— sparks, as the Irish not inaptly call them. Apropos of 
spatters ! Every painter has seen (the result too of un- 
pardonable negligence) plates of glass so covered with 
spatters, that to remove them would require more time than 
would serve to paint the woodwork of a " full-trimmed " 
window. 

In priming work which is to be finished in oak, finely- 
ground French ochre is recommended. The objection to 
this pigment, that it does not work smoothly and easily under 
the brush, has arisen from its coarseness. Finely ground 
in boiled oil, it works as smoothly as white lead, and makes 
an excellent foundation for the succeeding coats. 

For walls the first coat should be as dark in shade and as 
thin as practicable, the object being to stain the plaster as 
much as possible. Indeed, if the whole mass of plaster could 
be stained through and through, it would be desirable to so 
stain it. 

The use of glue in wall painting is of doubtful propriety. 
It should never, under any circumstance, be put on until 
after the second coat, and then rubbed on with a rag, very 
lightly. In first-class work, however, its use is not recom- 
mended. 

Plaster mixed with weak glue-size — which prevents its 
setting too rapidly — is the best material for stopping walls 
preparatory to painting, and each coat of paint should be 
carefully rubbed with worn sand-paper, before the succeed- 
ing coat IS put on, For preparing walls a small pocket- 
trowel will be found a most serviceable tool, or a trowel- 
shaped putty-knife, whicli article has come into general use. 



34 HINTS FOR PAINTERS 

The preparation of ctilings for whitewashing (or kalsomin- 
ing as this operation is sometimes pretentiously called) is an 
operation requiring some skill and knowledge of " how to do 
it." A dirty ceiling, which has been subjected to successive 
coats of whitewash, whether of lime, or of whiting and glue- 
size, cannot be made solidly and smoothly white by additional 
whitewashing. The mass has become spongy, and sucks up 
the water so quickly that the material cannot be evenly dis- 
tributed. In such case the only way is to begin anew, to go 
at once " down to hard pan " by removing all the previous 
apphcations by washing and scraping. This is best effected 
with a broad-bladed square-pointed putty-knife, keeping the 
ceiling wet meanwhile. Plaster (hard-finish) is not of uni- 
form density, and some spots are much more absorbent than 
others. To remedy this a mixture of soft soap and alum, 
dissolved in water, should be applied with a broad kalsomine 
brush. 

It is not assumed that mere verbal instructions can teach 
the art of whitening or tinting walls and ceilings in water- 
colors. To produce good results, great skill in preparing the 
materials and dexterity in manipulation are required; and 
such work should be intrusted only to competent hands. A 
mass of unsuitable material may be cheaply put upon a ceil- 
ing ; but when the same shall require repainting, the cost of 
labor will be greater in removing the previous coating, than 
will be the whole cost of repainting. These remarks, too, 
apply equally to all kinds of painting ; and reference is 
made to the whitening and tinting of ceilings only, because 
of the general impression that this kind of work may be per- 
formed by anybody. 

The materials and tools used in painting are too costly to 

wasted and worn by incompetent handling. " Painting 
just to keep the gardener or hostler out of idleness," will 



AND PAPER-HANGERS 35 

prove in most cases a left-handed economy. Sucn experi- 
ments are prudent only when the services of skilled workman 
cannot be obtained. 

Taste in Color. — In rooms to be lived in, simple white 
for color of walls and paint, as well as any extremely dark 
treatment, should be avoided. The walls of rooms should be 
such backgrounds as will best suit the complexions and 
dresses of the larger number of people. Delicate white in- 
tensifies by contrast any unpleasantness or want of perfection; 
extreme dark would make people look white and ghastly. 
Neutral colors will be found the best — generally some grey 
or cool color that will contrast with warmth of complexions. 
On no account let an absolutely pure color be used for 
general surfaces. Nature provides no such color in pigments. 
Her yellows are greenish or reddish, and so on. Nor does 
she use it to any extent in inanimate nature. So much so 
that you will find that if you have much difficulty in describ- 
ing a color, you may be certain it is good; the more difficulty 
the more beauty. Nature trusts mainly to gradations of tone^ 
using vivid color in small quantities only, as in the touches 
on bright flowers and butterflies. This teaching of nature 
will be found seconded in the pictures of the greatest artists, 
and in following such teaching, it is necessary to consider the 
object to which (in domestic work, say) the rooms are to be 
devoted. A drawing-room, it is agreed, should be light, 
festive and gay ; dining-room at once more sober, and with 
more depth and warmth, as befits its uses. You must also 
consider the light and shade ; openings, and the positions of 
them ; for these may (or may not) effect for you contrast of 
tone, and may even touch the question of the good sense of 
your whole scheme of decoration. 

In a lecture delivered before the British Architectural As- 



36 HINTS FOR PAINTERS 

sociation, on this subject, the lecturer suggested that in the 
treatment of a drawing-room the walls should be a light 
neutral grey, fawn color, or pale green (not dark, but not 
white). Dados are suitable for all rooms, even drawing- 
rooms. They may be made of wood, painted as the room 
doors, or of stamped leather, or of the French paper imitations 
of stamped leather. A frieze does not interfere with the 
heads of sitters, and adds much interest if it has its sentiment 
or story. If flowers form part of your decorations, have no 
relief, no imitation of nature's light and shade. A wall must 
be a wall ; if, neglecting this, you introduce illusions to the 
eye, the sense of solidity will not be suggested. The Japanese 
decorate on correct prmciples, with truth to the idea derived 
from nature, and truth in art, adaptation of representation to 
materials and method. As regards the woodwork there 
should be no graining anywhere ; its aspect, however well 
executed, is repulsive. Real woods are always beautiful. 
Plain painting may be darker or lighter than the general wall 
surfaces ; both will look well. The doors may have stencilled 
decorations in angles of panels ; birds or butterflies, or plants, 
or any beautiful natural objects will supply motives. The 
ceilings should rarely be wholly white, except of halls or 
where the light is defective. Papered ceilings look well. 
The use of gold is generally satisfactory ; it reflects a warm 
tone on everything below. Put a good amount of color on a 
ceiling — not, however, making it so dark as to bring it too 
close to the eye. The carpet must be either lighter or darker 
than the walls. This is following out the artist's rule, to 
make either background or foreground run into the figure. 
If this IS not done in painting, a woman in white satin, for 
instance, against a dark floor and dark walls, will look like a 
cut-out figure stuck on, and the same sort of result would 
occur in rooms. As in ordinary lite dresses are dark in color, 



AND PAPER-HANGERS 



Z7 




NOVEL SCHEME lOlJ PANELED TREATMENT OF 
WALLS 

Suitable for hall, dining room, or room of semi-public 
character 



38 HINTS FOR PAINTERS 

where a light wall tone has been recommended, the carpet 
will have to be darker than the walls. Not too vivid in 
color, however, and of course, no flowers, ferns, birds' nests, 
and such like fearful things. Furniture a?id hangings should 
not be too much alike in color ; have, say, the carpet one 
tone, the covenngs of the furniture another, and the curtains 
and other hangings a third. Have summer and winter hang- 
ings and furniture coverings ; those for the former light and 
cheerful, the others with more warmth, and suggestive of com- 
fort and home life. A table-cloth, occasional chair, or a 
rug, may supply a bit of effective c ontrast with prevailing 
hues of hangings, etc., and a spot of vivid color in a vase or 
some small hanging will complete the formal decoration of 
the room. 

Graining. — The art of imitating the grain A the more 
expensive woods has been brought to a great degree of per- 
fection, but of late years so many unskilled workmen have 
undertaken to imitate the natural grain of wood with such 
imperfect results, that this beautiful branch of painting has 
fallen into partial disuse. A few remarks, therefore, to the 
uninitiated may not be inappropriate in this work. Mahog- 
any, satinwood, rosewood, mottled and walnut roots, maple, 
and some others, are frequently imitated ; and it is seldom 
that a house is finished without some graining being intro- 
duced. The imitation of the above-mentioned woods are 
best performed in ground distemper (water colors) which are 
always preferable and more economical purchased ready pre- 
pared. Oak, chestnut, ash and similar long-grained woods, 
are best executed in oil-color, particularly for outdoor work. 
For drawing rooms, delicate party colors are preferable, as 
they harmonize better with the neutral tints on the walls or 
delicate tinted papers. The process of graining is very 



AND PAPER-HANGERS. 



39 



simple. To be an accomplished grainer, practice and an 
artistic taste is very necessary. Too frequently the imitation 
is overdone, the shading too deep and obtrusive, and the 
work made too glaring with figure and varnish, has an un- 
natural appearance ; a grainer should always avoid attempt- 
ing to over-do nature. The following is an approved 
method : — The surface on new wood should be prepared with 
three coats of oil paints for the ground color, and regulated 
in shade by the color of the wood to be imitated, making due 
allowance for the graining tint that is to cover it. The 
ground colors should always be perfectly dry before the grain- 
mg is commenced. The painter then preparmg small quanti- 
ties of the colors he requires, applies it thinly and evenly over 
the surface and proceeds to wipe out with his thumb and a 
piece of white cotton cloth the figure of the grain. Some 
grainers use rubber instead. We cannot here explani all the 
different processes for the uiiitation of the grain of wood. 
Many painters have a method of their own, which from long 
practice produce excellent results. In some cases, grainmg 
in distemper may be adopted with great success for indoor 
work, and if the colors are put on thin, so that the varnish 
will penetrate through into the ground color, this kind of 
graini.ig is as durable as oil-color, and is susceptible of being 
made far more beautiful, and soft looking in the imitation of 
mottled woods. For blending distemper colors, a badger's 
hair blender should be frequenUy used to soften down and 
blend the tints where necessary ; but for blending oil-color, 
m order to produce an elongation of the grain, we have found 
a flat varnish brush, kept moderately damp and clean, pre- 
ferable to the badger's hair. When the work is dry, the 
shades necessary for some woods should be laid on m dii- 
temper-color (some u.^s thin oil colors) and then covered with 



40 HINTS FOR PAINTERS 

two coats of good oil varnish. Common varnish should 
never be used on outside work. 

Oak Graining. — In oak graining the color is made in 
the following manner : — Procure some finely-ground burnt 
umber and raw sienna (or Vandyke brown and raw sienna if 
a dark oak be required), and thin with equal parts of linseed 
oil and turpentine. Add a large quantity of patent dryer to 
make it stand the comb. The color is now ready for use. 
The graining color is brushed over the work in the ordinary 
way with a pound brush, care being taken not to put too 
much color on, else it is liable to look dirty. A dry dusting 
brush is now used to stipple with, which, if properly done, 
will distribute the color evenly. It is now ready for comb- 
ing. First take a medium or coarse-cut gutta-percha comb, 
and draw it down one side of the panel, then use a finer one 
to complete it. This comb will leave the marks of the grain 
in clear unbroken lines from top to bottom of the panel. We 
now take a fine steel comb and go over the whole of the pre- 
vious combing ; but in drawing this comb down, we either 
move it in a slanting or diagonal direction across the pre- 
vious combing, or draw it down with a quick and short wavy 
motion and curl. Both the former and latter motions will 
break up the long lines left by the gutta-percha comb into 
short bits, which, of course, represent the pores or grains of 
the real wood. Next take out the lights of figuring or vein- 
ing. This is effected by means of a piece of washleather, 
held tighdy over the thumb nail. Every time a few lights 
are wiped out the leather should be moved slightly, so that 
the same part of the leather will not be used twice, thus en- 
suring clean work. There are various methods of doing this, 
but they require much more practice. When the figures are 
all wiped out they will recjuire to be softened. By softening 



AND PAPER-HANGERS. 



41 



we mean the imitation of those half shades seen upon and 
about the figures in the real wood. These are imitated by 
doubling a piece of washleather into a small roll, and with 
the side of this the grain is partly w^iped away or softened. 
Care should be taken not to wipe off the whole of the grain. 
If the operator has a piece of the real wood to look at oc- 
casionally he will be materially assisted. As soon as the oil 
color is dry it should be over-grained. This is effected in 
water color. Next go over the work with a bit of sponge 
and soap to prevent it " cissing." Before laying on the over- 
graining, wash out the sponge and wipe the work. It is now 
ready to receive the color. Grind up finely a little vandyke 
brown in water, and dilute it with table-beer and water. It 
is then ready. Take a flat bog-hair brush, 3 in. to 4 in. wide, 
dip it in the color and draw it over the work, in most case*- 
in the direction of the combing, but occasionally crossing. 
The hair of the brush, being thinly placed, will separate into 
patches, and hence the color will be deposited in streaks, re- 
sembling the natural gradations which the wood presents. If 
you have not a brush of this kind a sponge may be used to 
put in the streak and to soften off, Then dry varnish in the 
usual way. 

Spirit Graining for Oak. — 2 lbs. whiting, i^ lb. gold 
size, thinned down with spirits of turpentine, then tinge your 
whiting with vandyke brown and raw sienna ground fine. 
Strike out your light with a pitch or piece of rubber dipped 
in turpentine, tinged with a little color to show the lights. If 
your lights do not appear clear, add a little more turpentine. 
Turpentine varnish is a good substitute for the above men- 
tioned. This kind of graining must be brushed over with 
beer with a clean brush before varnishing. Strong beer must 
be used for glazing up top graining and shading. 



49 HINTS FOR PAINTERS 

Old Oak in Distemper. — To make an exceedingly 
rich color for the imitation of old oak, the ground is a com- 
position of stone ochre or orange chrome and burnt sienna; 
the graining is burnt umber or vandyke brown, to darken it 
a little. The above colors may be used for oil as well. 

Pollard Oak. — Ground color, a mixture of chrome 
yellow, vermilion and white lead, to bring it to a rich light 
buff. The graining colors are vandyke brown and small 
portions of raw and burnt sienna and lake, ground in beer or 
vinegar. Fill a large brush with color and spread it over the 
surface to be grained, and soften with a badger hair brush. 
Take a moistened sponge and dapple round and round in 
kind of knobs, then soften very lightly, after which draw a 
softener from one set of knobs to the other while wet, to form 
a multiplicity of grain, and finish the knobs with a hair pencil, 
in some places in thicker clusters than others. When dry, 
put the top grain on in a variety of directions, and varnish 
with turpentine and gold size ; then glaze up with vandyke 
and strong beer. Finish with copal varnish. This is for 
distemper only. 

Mottled Mahogany. — The ground is prepared with 
the best Venetian red, red lead, and a small proportion of 
white lead. The grainhig colors are burnt sienna, ground in 
beer, with a small portion of vandyke brown. Cover the sur- 
face to be grained, soften with a badger hair brush, and while 
wet take a damp sponge and go over the lights a second 
time, in order to give a variety of shade ; then blend the 
whole of the work with the badger softener. Put the top 
grain on with the same color. When dry, varnish. For dis- 
temper only. 

Rosevrood. — Mix vermilion and a small quantity of 
white lead for the ground. Take rose-pink, tinged with a 



AND PAPER- ii ANGERS 



43 



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44 HINTS FOR PAINTIiRS 

little lamp-black or vandyke brown, and grind very fine in 
oil, then take a flat graining brush, with the hairs cut away 
at unequal distances, and cut down the grain as if wending 
round a knob. When nearly dry, take a graining comb that 
is used for oak, and draw down the grain. This will give it 
the appearance of nature. Then varnish. This makes an 
excellent and durable imitation. 

Another for Rosev/'ood. — This ground is prepared 
with vermilion and small quantities of white lead and crimson 
lake. When the ground is dry, and made very smooth, take 
Vandyke brown, ground in oil, and with a very soft tool 
spread the color over the surface in different directions, form- 
ing a kind of knots. Before the work is dry take a piece of 
leather, and with great freedom strike out the light veins; 
having previously prepared the darkest tint of vandyke brown 
or gum asphaltum, immediately take the flat graining brush 
with few hairs in it, called a top grainer, and draw the grain 
over the work and soften. When varnished, the imitation 
win be excellent. 

Curled Maple in Oil. — Prepare a rich ground by mix- 
ing chro liC yellow, white lead and burnt sienna. For the 
graining color, grind equal parts of raw sienna and umbei 
with a litde burnt copperas and turpentine, and mix it with a 
small quantity of grainer's cream, thin the color with oil ; 
then fill a tool and spread the surface even and rub out the 
lights with sharp edge of a piece of buff leather, wiping it 
frequently to keep it clean ; soften the edges of the work very 
lighdy, and when dry, put on the top grain with burnt umber 
and raw sienna ground in beer with the white of an egg beat 
into it. Varnish. 

Curled Maple in Distemper. — Prepare a light yel- 
low for the ground, by mixing chrome yellow and white lead, 



AND PAPER-HANGERS 45 

tinged with Venetian red. The graining color is a mixture ot 
equal portions of raw sienna and vandyke brown, ground m 
beer. Spread the surface to be grained in an even manner ; 
then with a piece of cork rub across the work to and fro, to 
form the grains which run across the wood ; soften, and when 
dry lightly top grain with the same color. Varnish. 

Bird's Eye Maple in Oil.— The ground is a light 
buff, prepared with white lead, chrome yellow and a little 
vermilion or English Venetian, to take off the rawness of the 
yellow. The graining color is equal parts of raw umber and 
sienna, ground in oil to the proper consistency. Spread the 
surface of the work with this color, and having some of the 
same prepared a little thicker, immediately take a sash tool 
or sponge and put on the dark shades, and soften with a 
badger hair brush ; before the color is dry put on the eyes by 
dabbing the dotting machine on the work, or by striking the 
colors short and sharp with the tips of the fingers, then blend 
slightly the eyes in one direction only. When dry, put on the 
grain with the camels hair pencil on the prominent parts to 
imitate the small hearts of the wood. The same graining 
colors to be ground in here for distemper. 

Walnut in Oil. — The ground is formed with ochre, 
Indian red, umber, and white. The graining coat is similar 
to that described under the oak heading, and is prepared 
with Vandyke brown ; and for the darker shades, fine ivory- 
black ; the wiping out and blending to resemble that in 
mahogany ; the fine dark veins of ivory-black to be lightly 
and wavily drawn over the work after it is blended. It is 
then ready for the varnish. 

Satin-"wood in Distemper. — This ground is prepared 
with white lead, stone ochre and small quantities of chrome 
yellow and burnt sienna. The graining color is one-third of 



46 HINTS FOR PAINTERS 

raw sienna and whiting, ground in pale ale, very thin ; then 
spread the color over the surface to be grained. While wet 
soften, and have ready a wet roller or mottling brush, in order 
to take out the lights; blend the whole with the badger hair 
brush, and with the same color put on the top grain. Var- 
nish. 

To Imitate Granite in Oil. — For the ground color, 
stain your white lead to a light lead color, with lamp-black 
and a little rose-pink. Throw on black spots with a coarse 
brush or graniting machine. A pair red also, and fill up with 
white before the ground is dry. 

Another for the Same. — A black ground; when half 
dry throw in vermilion, a deep yellow, and white S])ots. 

Marble. — For IV/iife Marble, get up a pure white ground, 
then hold a lighted tallow candle near the surface, and allow 
the smoke to form the shades and various tints desired. This 
will make a very handsome imitation. Black Marble. — 
Imitation is made by streaking a black surface with colors, 
using a feather and pencil. Another plan is to get up a 
smooth black surface ; then take the colors, green, yellow, 
red, v^hite, etc., ground thick in gold size, and streak the sur- 
face with a stick or hair pencil. Allow it to dry, and apply a 
heavy coat of lamp-black and yellow ochre mixed, mixed 
rough stuff. When all is hard, rub down to a level surface 
with lump pumice-stone, varnish and a beautiful variegated 
marble will be the result. 

Red Marble. — For the ground put on a white tinged 
with lake or vermilion ; then apply deep red patches, filling 
up the intermediate spaces with brown and white mixed in 
oil; then blend them together; if in quick drying colors, use 
about half turpennne and gold size. When dry, varnish • 



AND PAPER-HANGERS 



47 




48 HINTS FOR PAINTERS 

and while the varnish is wet, put m a multitude of fine white 
threads, crossing the whole work in all directions, as the wet 
varnish brings the pencil to a fine point. 

Jasper Marble. — Put on a white ground lightly tinged 
with blue ; then put on patches of rich reds or rose-pink, 
leaving spaces of the white ground ; then partly cover these 
spaces with various browns to form fossils, in places running 
veuis ; then put in a few spots of white in the centre of some 
of the red patches, and leaving, in places, masses nearly white. 
When dry use the clearest varnish. 

Blue and Gold Marble. — For the ground color put on 
a light blue ; then take blue, with a small piece of white lead 
and some dark common blue, and dab on the ground in 
patches, leaving portions of the ground to shnie between ; 
then blend the edges together with a dust^ or a softener; 
afterwards draw on some white veins in every direction, leav- 
ing large open spaces to be filled up with a pale yellow or 
gold paint; finish with some fine white running threads, and 
a coat of varnish at last. 

Black and Gold Marble . — This description of marble 
is very chaste, and is in great demand. The ground is a 
deep black, or a dead color, in gold size, drop black and tur- 
pentine ; second coat, black japan. Commence veining ; 
mix white and yellow ochre with a small quantity of vermilion 
to give a gold tinge ; dip the pencil in this color, and dab on 
the ground with great freedom some large patches, from 
which small threads must be drawn in several directions. 

In the deepest part of the black a white vein is sometimes 
seen running with a number of small veins attached to it, but 
care must be taken that these threads are connected with and 
run, in some degree, in the same direction with the thicker 
veins. If durability is not an object, and the work required 



AND PAPER-HANGERS. 49 

in a short time, it may be executed very quickly in distemper 
colors, and when varnished, it will look well. 

Compound Colors. — The following tints can be formed 
by mixing the colors as below. The shades can be made to 
suit any taste by the exercise of a little judgment in propor- 
tioning the colors : 

6/"m;//.— White lead, yellow and red. 

Drab. — White, Prussian blue and vermilion. 

Fawn. — White, stone ochre and vermilion. 

Flesh. — Lake, white lead, and a little vermilion. 

Grey., Pearl — White lead, Prussian blue, and a very little 
black. 

Grey, Flaxseed. — White lead, Prussian blue, and a little 
lake. 

Gold. — Massicot, or Naples yellow, with a small quantity 
of Realgar and Spanish white. 

Green Light willow.— White, mixed with verdigris. 

Green., Grass. — Yellow pink with verdigris. 

Green., Pea. — White lead and chrome or Paris green. 

Green., Dark. — Black and chrome green. 

Green., Olive. — Prussian blue and French yellow; mix to 
the tints required. This is a cheap and handsome color for 
outside work, such as doors, carts, wagons, railway cars, etc. 

Jonquil. — Yellow, pink and white lead. This color is only 
for distemper. 

Lead. — Prussian biuc and white, with a light shade of 
white. 

Olive. — For distemper, use indigo and yellow pin' ""^ixcd 
with whiting or white lead powder. 

Olive. — Red, green, or black and yellow. 

Pearl. — White lead, Prussian blue and red. 

Purple. — Dark red mixed with violet. 



50 HINTS FOR PAINTERS 

Purple. — White, Prussian blue and vermilion. 

Red^ Dark. — English Venetian, red lead and litharge. 

Red, Light, — Venetian red, and red lead in equal parts. 

Red, Deep. — Vermilion, with a very small quantity of red 
lead. 

Stojie. — White, with a litde spruce ochre. 

Straw. — White lead and yellow. 

Snuff. — Yellow, sienna and red. 

Slate. — White lead, black, red and blue. 

Steel. — Ceruse, Prussian blue, fine lac and vermilion. 

Salmon. — White lead, yellow and red. 

Walnut. — Tree color; two-thirds white lead and one-third 
red ochre, yellow ochre and umber, mixed according to the 
shade sought. If veining is required, use different shades of 
the same mixture. (See article on graining). 

Yellow, Light. — French yellow and white lead. A little 
red lead may be used. 

Another. — French yellow, white and red lead. 

Another. — A mixture of a small portion of Prussian blue, 
French yellow, white lead and Turkey umber and burnt 
vitriol, or litharge, will produce different shades of yellow, 
according to the preponderance of one of the above colors. 

Yellow. — Bright for floors, white lead, French yellow, 
chrome yellow a little, some red lead and litharge; mix with 
equal parts of boiled oil and turpentine and use it thin. 

Yelhm\ Dark. — French yellow and a litde red. 

Yellow, Lemon. — Yellow pink, with Naples yellow. Foi 
distemper only. 



AN» PAPER-HANGERS. 



MISCELLANEOUS RECEIPTS. 

For Iron. — A good paint for preserving iron exposed to 
the weather, is made as follows : 

Pulverized oxides of iron, such as yellow and red iron 
ochres, or brown hematite iron ores, finely ground, and simply 
mixed with linseed oil and a dryer. 

White lead applied directly to iron is thought to have a 
corrosive effect. It may be applied over more durable 
colors. 

Red lead, when pure, is very durable. An instance is re- 
cfDrded of iron painted with it having been under water for 
nearly 50 years, and had not been affected by rust. 

Sheet iron, before being used for roofs or other outside 
purposes, should be heated and dipped into hot linseed oil, 
which will penetrate into it. Tinned iron in roofs has been 
found to corrode quicker than in former years, owing to the 
more general use of coal. 

Paint for Rusty Iron. — Black Japan varnish, mixed 
with turpentine, to make it thinner if necessary, is one of the 
best preventatives ; but the iron must be dry when you put 
it on. If you can warm the iron when painting it, so much 
the better. If not sufficiently opaque, you may put in dry 
finely pulverized paint, such as lamp-black. Red lead, with lin- 
seed oil is also a good paint for rusted iron ; so are the mineral 
reddish-browns which consist of oxide of iron ; they become 
very hard, and are used for the iron-work of the elevated 
milroAds in this dtj. 



52 HINTS FOR PAINTERS 

To Paint on .jtueeo. — Great care is required in paint- 
ing upon stucco, for the work must not only be thoroughly 
dry, but free from any liability of dampness ; that is to say, 
the walls themselves must be dry. It is, consequently, usual 
to allow the stucco to remain for several months before it is 
painted ; and this is especially necessary when it covers ovei 
a large surface, as in the walls of churches, chapels and 
theatres. If the paint be applied too soon, the work will hav^ 
a blotched appearance, and be probably filled with smal/ 
vesicles, formed durmg the evaporation of the water. When 
the work is dry, it may be prepared by covering it with a coat 
of linseed oil, boiled with dryer. This must be laid on very 
carefully, or the face will be irregular. The color may then 
be applied, and four coats will not be too much, the work 
being new. Persons are generally so anxious to have their 
buildings finished, that they disregard the future appearance 
of the work, and within a few weeks after the application of 
the stucco, cover it with paint. But it would, in all cases, be 
sufficient to wash the surface with distemper, as it would give 
a finished appearance to the building, and make it less neces- 
sary to hurry the work. When the work is sufficiently dry to 
receive the oil-colors the distemper color should be removed 
by washing, and when the stucco is dry apply the oil-color. 
The tints may be regulated by mingling different colors, as in 
all other kinds of painting. 

Plastered walls should not be painted until they are 
thoroughly dry, and all settling in a new house has taken 
place. If painted too soon they will blister. 

Unseasoned wood should never be painted, as it stops the 
pores of the wood and the sap acidulates, causing dry rot. 
Greasy surfaces must be washed with water mixed with limA. 
or soda, otherwise the paint will not adhere to it. 



AND PAPEB-HANGERS 




54 HINTS FOR PAINTERS 

Mixing Quick Drying Paint. — Venetian blinds 
should be painted to dry dead, then varnish ; but few take 
this trouble. Mix the paint as under : White lead, boiled 
oil, and the least drop of turps; mix sufficient of each to 
form a creamy mixture ; then add about i oz. patent drier 
to each i lb. of paint. If you want the paint darker use 
enough burnt umber to give the required tint. If you want 
to varnish, omit the oil and use turps. 

Transparent Paint for Glass. — Take for blue pig- 
ment, Prussian blue ; for red, crimson lake ; for yellow, 
Indian yellow ; and for other shades, a mixture of the appro- 
priate ^rimary colors. Rub them in a size made as follows : 
Veni . turpentine, 2 parts ; spirits of turpentine, i part, and 
app' with a brush. The colors are moderately fast unless 
exp .sed too long to direct sunlight. A solution of the vari- 
oi aniline dyes in shellac varnish has also been recom- 
r jnded. 

Gilding. — Gold leaf is the only successful appHcation. 
First put on a coat of Japan gold size, and when that is 
" tacky," and nearly dry, lay on the gold-leaf and dab it with 
a small tuft of cotton-wool. Where you buy the gold-leaf 
you can buy a gilder's tool for applying it ; but in order to 
get a smooth surface it must (when perfectly dry) be burnished 
with an agate burnisher, which you will also get at the color- 
shop, but you will not be able to burnish gold-leaf on the 
bare wood. You can, if you like, varnish with pale copal 
varnish. 

Gilding on Glass. — Glass letters are gilt the same way 
as you would a name on a glass door. You can easily get 
a good burnish if you take a little trouble. Get some of the 
best cotton wool at a chemist's, and well polish the gold with 
it ; the gold must be thoroughly dry. Then go over it with 



AND PAPER-HANGERS 55 

your size boiling hot; do not touch the same place twice with 
the brusli, or you will bring the gold up ; repeat the process 
three or four times, being sure to have your gold dry each 
time, the hotter the size the brighter will be the burnish ; be 
careful, however, and not break tbe glass with the heat. 

Gilding Fret-work, Etc.— The first thing to be done 
is to whiten the work. To do this scrape some whitening 
very fine, place it in a pipkin with a lump of gilder's size, and 
water sufficient to make it of the consistency of thick cream, 
when heated over a fire ; then, with a camel-hair pencil, paint 
it on the object several times, allowing each coat to dry be^ 
fore applying the next. When the several coatings have 
raised it to the thickness of i-i 6 in., set it aside for twelve or 
more hours, to harden ; when hardened, smooth the surface 
with very fine sandpaper first, and finally with a piece of 
cork ; when using the cork frequently dip it in water, and, 
when practicable, use it in a circular motion. Thus far suc- 
cessful, the next thing is to lay on the gold. To gild, then, 
dissolve some gilder's — not common size — in water, and heat, 
and with a full brush lay it on the surface of the object. Cut 
the gold leaf, on a pad of buff leather, with a clean cut of the 
knife (much easier said than done ; perseverance, however, 
with the cost of a book or two of gold mutilated, and a large 
amount of patience exhausted, will overcome the difficulty), 
to the size required ; take these up on a tip (a row of long 
hairs placed between two bits of cardboard) - the professional 
way to do this is to strike the hair of the tip against the 
gilder's own whiskers or hair — and gently lay them on the 
surface of the object, taking care that each succeeding piece 
slightly overlaps the preceding. When dry, a small piece of 
fine sponge, dipped in a weak solution of size water, should 
be gently passed over it to give i uniform appearand? If 



56 HINTS FOR PAINTERS 

the bright gold requires to be deadened, deep ormolu should 
be used in a similar way after sizing. The yellow used for 
the ungilt portions consists of gilder's yellow, dissolved in size 
water, and is put on with a brush. 

Painting- on Gilded Panels. — There is no prepar- 
ation needed to paint in oils on a gilded panel. No mediums 
are required, the ordinary oil colors being used unmixed. If 
required to dry flat and to remain so, they are mixed with 
turpentine and left unvarnished. If the shiny look of oils is 
to be retained, they are slightly diluted with boiled oil, and 
varnish with white hard varnish when dry. 

Gilding on Wood. — To gild in oil, the wood, after being 
properly smoothed, is covered with a coat of gold size, made 
of drying linseed oil mixed with yellow ochre ; when this has 
become so dry as to adhere to the fingers without soiling 
them, the gold leaf is laid on with great care and dexterity, 
and pressed down with cotton wool ; places that have been 
missed are covered with small pieces of gold leaf, and when 
the whole is dry, the ragged bits are rubbed off with cotton. 
This is by far the easiest mode of gilding ; any other metallic 
leaves may be applied in a similar manner. Pale leaf gold 
has a greenish yellow color, and is an alloy of gold with silver. 
Dutch gold leaf is only copper colored with the fumes of 
zinc ; being much cheaper than gold leaf, is very useful when 
large quantities of gilding are required in places where it can 
be defended by the weather, as it changes color if exposed to 
moisture, and it should be covered with varnish. Silver ^raf 
is prepared every way the same as gold leaf; but when ap- 
plied, should be kept well with varnish, otherwise it is liable 
to tarnish ; a transparent yellow varnish will give it the ap- 
pearance of gold. 



AND PAPER-HANGERS 57 

Whenever gold is fixed by means of linseed oil, it will bear 
washing off, which burnished gold will not. 

To Gild Letters. — When the sign is prepared as smooth 
as possible, go over it with a sizing made by white of an egg 
dissolved in about four times its weight of cold water ; add- 
ing a small quantity of fuller's earth, this to prevent the gold 
sticking to any part but letters. When dry, set out the letters 
and commence writing, laying on the size as thinly as possi- 
ble, with a sable pencil. Let it stand until you can hardly 
feel a slight stickiness, then go to work with your gold leaf 
knife and cushion, and gild the letters. Take a leaf upon the 
point of your knife, after giving it a sHght puff into the back 
part of your cushion, and spread it on the front part of it as 
straight as possible, give it another slight puff with your mouth 
to flatten it out. Now cut it to the proper size, cutting with 
the heel of your knife forwards. Now rub the tip of the 
knife lightly on your hair ; take uj) the gold on the point, and 
place it n.tatly on the letters ; when they are all covered, get 
some very fine cotton wool, and gently rub the gold until it 
is smooth and bright. Then wash the sign with clean water 
to take off the egg size. 

Sign Writing in Colors, Etc. — On an oak ground 
ornamental letters, in ultra-marine blue, filled in with gold 
and silver leaf, blocked up and shaded with burnt sienna. 
Anothe7\ — Gold letters on a white marble ground, blocked up 
and shaded^with a transparent brown or burnt sienna. On 
gla.s — Gold letters shaded with burnt sienna. Atiothcr. — 
Gold letters shaded with black on a scarlet or chocolate ground. 
On a rich blue ground shaded with black, look very well. On 
a pirpL ground, pink letters shaded with white. Mix ultra- 
marine dnd vermilion for a ground color, white letters shaded 



58 HINTS FOR PAINTERS 

with grey. Vennilio7i g?vund, chrome yellow stained and 
vermilion and lake, for the letters shaded with black. 

A substitute for the above colors : Rose-pink and red lead ; 
and for the letters stone yellow, white lead and Venetian red. 
Mix your colors for writing in boiled oil, and use for dryer 
gold size. Other good grounds for gold letters are, blues, 
vermiHon, lake and Saxon. When your sign is ready for 
gilding, follow the directions under the head " To Gild Letters 
o?i Woodr 

Gilder's Size. — Drying or boiled linseed oil, thickened 
♦vith yellow ochre, or calcined red ochre, and carefully re- 
duced to the utmost smoothness by grinding. It is thinned 
with oil of turpentine. 

Staining Wood a Dull Black. — The work required 
to be stained should be colored with drop-black and size. 
When this is thoroughly set it should be papered off and 
colored again, and then be papered off again. The polish 
should also be stained with drop black and a little indigo. 
Next polish to a perfect surface, and let it set. After the 
wood has absorbed all the polish possible, polish again, and 
dull it with the finger dipped in fine emery; a fine metallic 
surface will thus be obtained. 

Staining Floors. — The best and cheapest and only 
permanent stain for floors is permanganate of potash. Buy 
it by the y^ lb., and at a wholesale chemist's ; mix about 
i^ oz. in a quart of water. Apply freely and quickly to a dry 
floor with either cloth or brush, the latter if you care for stain- 
ing your hand. Repeat the process for a very dark oak 
color; when dry oil with burnt oil or beeswax and turpen- 
tine; you cannot wash this color out. Benson's stain is only 
permanganate of potash. At first for a few moments the 
color is bright magenta, but this at once changes to a dark 



AND PAPER-HANGERS 



59 




SCHEME FOB DECORATION OF WALLS OF STUDY OR 
LITEEARY WORKSHOP 



50 - HINTS FOR PAINTERS 

permanent brown. For fifty cents a whole house may be 
stained. 

Varnishing Wood. — After smoothing wood with veneer 
scraper, brush on thick coat of shellac varnish ; then use fine 
'andpaper, No. O. Do this three times for close grained 
A'oods, such as black cherry, and lour times for porous wood, 
such as chestnut. Have two dishes. Into one put finely 
ground pumice ; into the other raw or boiled oil. Apply a 
mixture of these with a piece of hair-cloth or broad-cloth. 
Don't rub too hard. Finish up with rotten stone, which will 
remove pumice and oil. Above is a good dead varnish. 
Another. — Take encauoiic wax, heat, and apply with a 
cork ; rub in well, brush on thin coat shellac varnish, finish 
with pumice and oil. 

Solvent for Old Putty and Paint. — Soft soap 
mixed with a solution of potash or caustic soda, or pearlash 
and slaked lime mixed with sufficient water to form a paste. 
P^ither of these laid on with an old brush or rag, and left for 
some hours, will render the putty or paint easily removable 
Ajiother. — Slack three pounds of stone quicklime in water, 
then add one pound of pearlash, and make the whole 
about the consistence of paint. Apply it to both sides of the 
glass, and let it remain for twelve hours, when the putty will 
be so softened that the glass may be easily taken out of the 
frame. Another. — Break the putty up in lumps the size of a 
hen's egg, add a small portion of raw linseed oil, and water 
sufficient to cover the putty, boil this in an iron vessel for 
about ten minutes and stir it when hot. The oil will mix 
with the putty, then pour the water off and it will be like 
fresh made. For removing hard putty from a window sash 
take a piece of square iron, make the same red hot, and run 



AND PAPER-HANGERS. 61 

it along the putty till it gets soft. The putty will peel off 
without injuring the wood work. 

Wash for Outside Work. — For woodwork slake half 
a bushel of fresh lime, by pouring over it boiling water suffi- 
cient to cover it 4 or 5 inches deep, stirring it until slacked ; 
add 2 lbs. of sulphate of zinc (white vitrol) dissolved in water. 
Add water enough to bring all to the consistency of thick 
whitewash ; it may be colored by adding powdered ether, In- 
dian red, umber, etc. If lampblack is added to colors, it 
should first be thoroughly dissolved in alcohol. The sulphate 
of zinc causes the wash to become hard in a few weeks. 

Another for Brick, Masonry, and Rough- east. 

Slake half a bushel of lime as before ; then fill a barrel yi 
full of water, and add a bushel of hydraulic cement. Add 
3 lbs. of sulphate of zinc previously dissolved in water. The 
whole should be of the thickness of paint. The wash is im- 
proved by stirring in a peck of white sand, just before using 
it. It can be colored as before described. 

French Polish. — Coat with one or more coats of 
shellac and rub down smooth ; make a rubber by rolling up 
a piece of flannel about 3 or 4 inches wide until it is about 
1^ inches in diameter, and tie it round with cord. Lay the 
end of the rubber on the mouth of a thin necked bottle and 
apply the varnish to it, having previously shaken up the con- 
tents in the bottle ; then enclose the end of the rubber with a 
piece of soft linen doubled, and moisten the face of the linen 
with a little raw linseed oil. 

Pass the rubber with a quick, light and circular motion over 
the surface until the varnish becomes dry, or nearly so, and 
charge the rubber again with varnish until 3 coats have been 
laid on, when a litde oil may be aj^plied to the rubber and 
two more coats laid on. In the finishing coat wet the inside 



52 HINTS FOR PAINTERS 

of the cloth with a Uttle alcohol, and rub quickly and lightly 
over the whole surface. Lastly wet the linen cloth with a 
little oil and alcohol without varnish, and rub as before until 
dry. 

The varnish is the usual preparation of shellac. See 
cabinet maker's varnish. 

Wood Filling" Composition. — Boiled linseed oil, i 
qt.; turpentine, 3 qts.; corn starch, 5 lbs.; Japan, i qt.; 
calcined magnesia, 2 oz.; mix thoroughly. Aiwiher. — 
Whitening, 6 oz.; Japan, y^ pt.; boiled lin-seed oil, 
^ pt.; turpentine, 3^ pt.; corn starch, i oz.; mix well to 
gether and apply to the wood. Add coloring if required. 
Another. — Linseed oil, i qt.; sj^irits of turpentine, ^ jjt.; 
lime, the size of a base-ball, broken fine. Let the mixture 
simmer on a stove, covered over, for two or three hours, then 
strain through a coarse cloth. It is to remain on 24 hours, 
then rub off with a wollen cloth and polish. 

German Filling. — Fill the pores with raw tallow and 
plaster of Paris well amalgamated before a fire in cold 
weather. Darken, if required, with any coloring to suit. 
When well rubbed in give a coat of shellac and French polish 
or varnish. 

Polish for Walnut Wood. — Mix with two parts of 
good alcoholic shellac varnish, one part of boiled linseed oil, 
shake well, and apply with a pad formed of woolen cloth. 
Rub the furniture briskly with a little of the mixture until the 
polish appears. 

Rules the Painter Should Observe — Never eat 
or sleep without washing the hands and face and rinsing the 
mouth. Keep the buckets, brushes, etc., clean, so that they 
may be handled without smearing the hands. Never sleep 



AND PAPER-HANGERS. 



63 



in a paint shop nor in a newly painted room. Never allow 
paint to accumulate on the clothing or finger nails. Never 
wash the hands in turpentine, as it relaxes the muscles and 
injures the joints; any animal oil or even linseed oil is better. 
Never drink water that has stood any length of time in a 
paint shop or newly painted room. Never use spirituous 
liquors as it unites with the mineral salts and tends to harden 
them and causes inflammation of the parts where they con- 
crete. Milk, sweet oil and the like should be used freely, as 
they tend to soften the accumulated poisons and carry them 
Q& Vinegar and acid fruits used constantly, unite. 



(34 HINTS FOR PAINTERS 



PAPER-HANGING. 

The art of putting on, or " Hanging " paper is very simple, 
and is easily learned ; but to make a tasteful choice of paper 
for various situations, is not so easy, hence the following re- 
marks, which may be of service to the workman or others on 
whom the selection of paper may devolve. 

Walls to a room should be regarded only in the light of a 
irame-work to what the room contains, and should be decor- 
ated so as to bring into prominence and not eclipse the other 
parts of the chamber. Nothmg destroys the effect of a room 
so much as a handsome but starmg wall paper, or a wall so 
profusely ornamented as to strike upon the eye to the ex 
elusion of the rest of the decorations, thus bringing forward 
what should be the background into the most con..picuous 
place. A modern drawing room is always difficult to decor- 
ate artistically, because of the taste of its builders f^r heavy 
cornices, prominent mantelpieces, and rooms too lofty for 
their size ; and as all these misnamed " embellishments " are 
too costly to remove by tenants, the only plan to pursue is to 
destroy their effect by exercising both taste and ingenuity. 
First, with regard to the ceiling, the ornamental plaster boss 
in Its center should be removed, and the ceiling tinted a color 
that harmonizes with the wall paper, as no harmonies can be 
hoped for when what produces them is surmounted with the 
glaring white of an ordinary ceiling. The tint used must be 
one that soffens into the wall paper, not one that contrasts , 
thus, if the tone of the room is that of a soft grey blue, the 
ceiling should be a clear flesh pink ; or should a grey grei 



NEW YORK — HENRY BOSCH COMPANY — CHICAGO 








An exquisite example of advanced mural decoration from England ; -wall hanging and 
crown. Suitable for reception room or boudoir. 



NEW YORK — HENRY BOSCH COMPANY — CHICAGO 



1 



r ' 



"\"\ ?"£ origmatecl tke Relief ''"cut-out" 

crov^n, of v^kick tkis is an excellent 

example. Our line includes a variety of 

aesigns and colorings suitable for any room. 



AND PAPER-HANGERS. '"' 

picked out with black be the chosen color, then it should be 
colored a subdued lemon. 

Some people cover their ceilings with a whole colored 
paper, and border it with a stencilled pattern representing th- 
thin garlands so familiar upon Queen Anne decorations, but 
this is a more troublesome plan than the simple coloring, 
which answers all the purpose. The walls, if they are lofty, 
require a high dado. These high dados give a look of com- 
fort and " home " that is absent from the modern high pitched 
room papered with one uniform pattern. The dado is 
divided 3 feet to 4 feet from the ceiling, and the coloring ol 
tlie lower portion must always be heavier than that used on 
the upper or a top heavy look will be given to the room. 
When many pictures are to be hung up the lower part of the 
dado should be of a whole color, either a whole colored paper 
or a painted wall, as pictures are only shown off upon such a 
background. Where a whole tint is used for the lower part 
of the dado, the upper portion should be decorated with a 
frieze paper of a good bold pattern, but of subdued coloring 
and of tint that harmonizes with the lower. Thus, the color 
used about the frieze should be the same as that on the lower 
part, but of a lighter shade, intermixed with some other colors 
that form a harmonious link between the two shades. Con- 
trasts must be carefully avoided, but pale pinks, blue and 
ambers can be blended together above a subdued grey blue 
ground. The two portions of the dado should be joined 
together with a light wooden (black or brown) railing, or with 
a line of paint. 

The dado decoration can be altered by placing the pattern 
paper upon the lower part and leaving the upper plain-colored 
with or without a stencilled pattern upon it. This will suit a 
room where not many pictures are required, or that is already 
rather dark. Some part of the wall should always be in plain 



66 HINTS FOR PAINTERS 

color, as the eye requires rest; and no pattern, how- 
ever subdued in hue, can give the relief to the mind 
that a bit of plain coloring affords, and this scarcity 
of ornament in one part of a room is amply repaid 
by the effect it gives to such parts as are bright and 
should be bright. The true theory of effect is to use 
but one or two bright colors in a room, and to sur- 
round them by soft and subdued tints that throw 
up and do not destroy their brilliancy ; a number of 
bright colors placed together destroy each other, and 
leave no impression upon the mind but glare and 
vulgarity. Having settled upon your paper and ceil- 
ing, have the woodwork and cornice of the room 
painted either a shade lighter or darker than the 
walls. The back-ground of a room being thus com- 
pleted in a manner really to be a back-ground, furni- 
ture will look twice as well as if it were stared out 
of countenance by the walls, and one need hardly 
add that all will delight in a room that throws up 
and brings out their dresses and faces, instead of kill- 
ing them by its glaring tints. 

Measuring Quantity of Paper Required. — It will 
now be necessary to estimate the number of rolls of 
paper required for a room that is to be papered. Ex- 
perienced paper hangers can, as a rule, tell the num- 
ber of rolls by glancing at a room, but the beginner 
will require to measure. 

A single roll of wall paper contains 8 yards and 
when trimmed is i8 inches wide. It thus contains 36 



AND PAPER-HANGERS 67 

square feet. It is usually sold in double rolls of i6 
yards. 

English wall paper is 21 inches wide when 
trimmed, and a piece or roll is 12 yards long. In- 
grain papers are usually 30 inches wide. As there 
are these different widths of paper it is safest to 
order so many yards rather than by rolls or pieces, 
unless one is sure just how many yards are in the 
roll. Borders are sold by the yard and cut out orna- 
ments by the piece. 

As there is more or less waste it is necessary to 
order more paper than- the wall space to be covered. 
It should be remembered that the larger the pat- 
tern the greater the waste will be, owing to match- 
ing the design. 

In practice the simplest plan to follow is to take 
a roll of the paper or a stick to this width and meas- 
ure around the room. In this way the number of 
lengths necessary can be easily found. The next 
step is to measure the height and see how many 
yards of paper will be required. Always remember 
about the waste due to the matching of the paper. 
The pieces left over will be sufhcient to paper over 
doors, windows, and any small odd places. 

If there is a border 18 inches or more the height 
can be taken as so much less. When only a 6 or 9 
inch border is used it will be safest not to allow for 
the border. 

As an example, take a room 12 x 16 feet, and 9 feet 



68 HINTS FOR PAINTERS 

high, at one end of the room is a large grille opening 
7 feet wide and 7 foot 6 inches high, and at the op- 
posite end are two windows each 4 feet wide, and 
from the floor to the top of the casings the height 
is 8 feet. 

Measuring around the room gives i2-|-i6+i2 + 
16^56, from which deduct 7+4+4=15 feet for the 
window and grill openings, this giving 41 feet of 
wall to be papered. 

If American wall paper 18 inches wide, is to be 
used, it will require 4i-;-i% feet=27 1-3 strips or 
practically speaking we would say 28 strips. 

As the border is 18 inches deep the strips need be 
9 — 1%=7-!/2 feet long. Therefore, it would take 
28x7^2=210 feet or 70 yards of 18-inch paper. 

How much paper to order depends upon the de- 
sign, and how many complete strips can be had from 
a roll. For a plain paper, or one with a small design, 
we would be safe in getting 9 single rolls of 8 yards 
each as each roll would give 3 strips. On the other 
hand if the design is large, on account of the neces- 
sary matching it would be rather difficult to get more 
than two matching strips from a roll, or five, at the 
most, from a double roll ; so that for a large design it 
would take 6 double rolls of paper for the room. 
There is economy in using a paper of small design. 

For the border, it would of course require enough 
to go all around the room. The top of the border 
only shows over the windows, the lower part being 



AND PAPER-HANGERS 



69 




u 

(J ■ 

m 






— 1 -I-' 



CO 






C/5 



70 HINTS FOR PAINTERS 

waste. If the windows or other openings went clear 
to the ceiling, we would need no border paper for 
that space; but if there is only a little distance show- 
ing, it is necessary to run the border over the entire 
length so as to preserve the symmetry of the design. 
In this case we would need 56 feet or 19 yards of 
border, but it is best to get 20 or 21 yards to allow 
for some tearing or other waste. 

Trimming the Paper. — Having made a selection of 
the paper, the next thing to be done is to cut off 
one or more of the margins. This is readily done 
by means of scissors or rotary knives. As it is rather 
tedious to trim the paper dry when it is always curl- 
ing up, the majority of paper hangers trim the sel- 
vedge after the paste has been applied, and as the 
paper is doubled over there is only half the length to 
cut. 

In some wallpaper shops will be found a machine 
by which the selvedge or margins may be rapidly re- 
moved, and in some cases the paper may be pur- 
chased already trimmed, which, of course, saves a 
good deal of trouble. It must be remembered, how- 
ever, that the wallpaper manufacturer left the sel- 
vedge on for a definite purpose, that is, to protect 
the body of the paper, and that without it there is a 
likelihood of the paper becoming quickly soiled. It 
should be remembered, therefore, that when one 
buys paper ready trimmed it is necessary to take 



AND PAPER-HANGERS 71 

great care in handling, so as not to dirty or mar the 
edges. 

There are two ways of hanging paper, one with 
what is called a "butt edge," the other a "lapped 
edge," In the former both margins are cut off, and 
the edges of the paper must then be drawn together, 
so as to exactly meet, the pattern of course, uniting 
accurately. The difficulty of the beginner using the 
butt edge is that he sometimes finds a difficulty in 
bringing the edges to meet, and if there is a space be- 
tween, the white wall underneath shows through. 
Sometimes the paper shrinks after being hung, and 
produces the same objectionable effect. To prevent 
this it is not a bad plan to mix a little distemper to 
match the ground of the paper, and to paint this on 
the wall exactly where the several seams will come. 
If, in this case, there is an opening of, say, a thirty- 
second part of an inch it will not be noticed. In most 
cases, however, the lapped edge is used except with 
heavy paper and burlaps. In this case only one mar- 
gin is cut oft*, and the paper is lapped or placed over 
the other, care being taken to match the pattern as 
before. The objection to lapping is that the joints 
show somewhat conspicuously, as it will be clear that 
there will be two thicknesses of paper instead of one 
wherever the joints occur. A hint of importance is to 
remember that the laps should be away from the 
light, as this will render it less conspicuous than it 
would otherwise be. 



72 HINTS FOR PAINTERS 

Hanging the Paper. — The paper is now supposed 
to be cut into lengths ready to hang. The lengths 
are rather longer than is accurately required, and the 
beginner will find that at this point he reaches his 
greatest difficulty, which is to paste the paper and 
carry it while wet to the wall and hang it on in a 
vertical position. A good plan for a beginner is to 
take a plumb-bob (or if one is not available a small 
weight tied to a piece of string answers for the pur- 
pose), and mark out upon the wall vertical lines at 
the points where the joints of the paper are to come. 
This will at least have the effect of keeping the joints 
upright. Place the paper face downwards on a past- 
ing board — the kitchen table, if long enough, answers 
well — and give it a coat of paste, taking care not to 
apply too much, or it will brush out when the paper 
is applied. If the table is not long enough to take the 
whole length, as it probably will not be, paste one- 
half, fold the end toward the centre, then carefully 
draw the strip over and paste the end toward the cen- 
tre, so as to meet the end already folded. In this con- 
dition the paper will not leave any of the pasted sur- 
face outward, and as there are at least two thick- 
nesses, it will not be very difficult to lift it from the 
table. At this stage before removing the paper from 
the table the selvedge should be trimmed as already 
mentioned. With a little care the lower portion of 
the paper may be folded again for convenience in 
carrying. 



AND PAPER-HANGERS "JZ 

To Start the hanging commence at a projecting 
corner of a door or window, or at any other position 
where a mismatch will show the least. Climb the 
step-ladder, which must, of course, be provided, un- 
fold the upper end of the paper, place it carefully be- 
neath the cornice and down the marked line, press 
it against the wall with a dry brush, taking care that 
there are no air bubbles left. Then unfold another 
portion, and press this down also, and proceed in the 
same way until the bottom of the length is reached, 
when it will be found that a portion of the length 
which was cut too long projects over the base board. 
Draw the point of the scissors lightly across this 
edge, which will mark the paper, pull the lower end 
of the strip away from the wall, and cut off this su- 
perfluous portion of the paper, and press the whole 
back in position and brush towards the edges ; one 
length of the paper will thus have been hung. 

Before pasting the second length, see that you have 
cut it correctly at the top to match when placing it in 
position. Paper-hangers frequently manage this on 
the wall itself, using the lower member of the cor- 
nice as a guide to mark the upper edge of the length, 
and they cut this superfluous top edge while standing 
on the ladder. The amateur will do much better to 
get the upper portion right before he pastes the 
paper. Instead of a paper-hanger's brush, a cloth 
may be used to press the paper to the wall. The 
brushes are usually used where speed is required; 



74 HINTS FOR PAINTERS 

but they require a little practice before one becomes 
expert with them. 

A soft hat brush makes an excellent paste brush 
and an ordinary whisk broom answers the purpose of 
the paper-hanger's brush if none is at hand. 

In handling a pasted strip do not let the lower por- 
tion slip down suddenly while you are working at the 
top, otherwise it will most likely tear apart and the 
entire strip would be ruined. 

Care must be taken to keep the printed side of the 
paper free from paste ; cleanliness is absolutely es- 
sential to get a good job. 

Where a border or frieze is to be hung, the pro- 
ceeding is precisely similar to that already described, 
except that the width of the paper is much less, and 
it is, of course, hung horizontally instead of verti- 
cally. If the reader will take care to fold his paper 
several times after it has been pasted, he should find 
no difficulty in handling it. It must be folded in such 
a manner as to be unfolded piece by piece as required 
to go around in its proper position. 

Strictly speaking, a first-rate job of paper-hanging 
requires training, and cannot be done at the first few 
attempts. The application to the wall of a long 
length of paper wet with paste requires practice, and 
the reader who attempts it for the first time may be 
a little disappointed. However, there is nothing in 
the work of papering any ordinary room, which re- 
quires any great skill ; a little practice is needed. 



AND PAPER-HANGERS 



7^:, 





WALL TREATMENT FOR DINING ROOM HALL. BILL» 
lARD ROOM. OR DEN 

Friczp of Englieb stencil effect 



76 HINTS FOR PAINTERS 

Hanging Ceiling Papers. — To hang a paper on a 
ceiling requires a good deal of thought and planning, 
and it is by no means as easy as hanging a paper on 
a wall. The paper having been carefully schemed 
out so as to show to the best advantage, the paper 
is pasted and folded as before, and hung in the same 
manner, excepting that a lath or stick must be used 
as an aid in holding up the folded portion, while the 
other end is being pressed to the surface. Before the 
paper hanging of the ceiling is commenced, all breaks 
and cracks should be mended in the same manner as 
described in dealing with broken walls, while stains 
should be painted out. When cutting the paper 
around irregular angles, such as those which arise 
from a bay window, the best plan is to cut the paper 
roughly, to about the angle required, leaving it rather 
longer than necessary, and then to mark the exact 
line against the cornice with the point of the scissors ; 
then to cut off the superfluous end. Even where care 
is taken, this will sometimes cause a little trouble with 
the paste coming against the cornice and discoloring 
it, but this can afterwards be made good with whiten- 
ing or coloring. 

In rooms which have no pretension whatever to a 
decorative appearance, ceilings are often papered in 
order to strengthen them. We have seen old ceilings 
which appeared to be about to fall oiT, kept in posi- 
tion for years by two coats of strong paper pasted 
over them. In this case what is known as lining 



AND PAPER-HANGERS 77 

paper is used. It is sold by every dealer in paper 
hangings, and is cheap. It must not be forgotten that 
a ceiling must never be papered in any room in which 
there is steam at any time. For instance, in a kitchen 
or laundry it is entirely out of place, as the first 
"washing day" will mean the descent upon one's head 
of all the paper from the ceiling. 

Borders and Friezes. — Sometimes in the country, 
and even in well-built houses, rooms are found fin- 
ished entirely without cornices. In such cases it is 
almost impossible to produce a finished effect unless 
a border or frieze is used. The writer is strongly of 
the opinion that borders should be almost always 
used in rooms large and small. They cost very little 
and if a comparison is made between a room finished 
without a frieze and another in which' a good design 
is employed, the difference will be at once apparent. 

Re-papering An Old Wall. — In re-papering an old 
wall the first thing to be done is to remove the old 
paper. Now, although that is very necessary in or- 
der to produce a god job, as well as for sanitary rea- 
sons, it is very frequently neglected altogether, and 
one paper is pasted over another time after time, the 
accumulation of dirt, decayed paste, and perhaps va- 
rious insects, forming a most unsanitary dwelling- 
place. The paper may be usually removed by wash- 
ing it over with hot water, giving a liberal quantity. 



78 HINTS FOR PAINTERS 

and allowing this to soak in, and then scraping off 
with an old chisel or scraper. 

If the paper is varnished, or is printed in oil — that 
is, it is of the quality known as "washable" paper — 
it may be necessary to score over the surface with a 
chisel before applying the water, so as to give an 
opportunity for the moisture to soak in. Commence 
at the top, taking care not to injure the cornice or 
ceiling, and scrape to get every particle of the paper 
away. Sometimes plastered walls which have been 
prepared with half a dozen or more papers are in such 
bad condition that, when these papers are removed, 
a considerable portion of the plaster will be pulled 
away. In such a case it may be quite necessary to 
leave the old paper on. In a fairly good wall the 
paper may be removed without injury, provided that 
plenty of water is used ; it is very probable that there 
will be some breaks, which will require mending 
before the new paper is applied. This can be done 
without difficulty by means of plaster of Paris mixed 
in small quantities at a time with a little glue water, 
and applied with a knife or piece of wood, and 
smoothed off to a level surface. In mending the 
walls of an ordinary room in this way it may be 
necessary to mix the plaster half a dozen times, as, if 
sufficient is mixed at one time for the whole job, it 
will be found to be set quite hard, and, therefore, to 
be useless before the mending is completed. A few 
drops of glycerine added to the plaster will retard its 



AND PAPER-HANGERS 



79 




DECORATION SUITABLE FOR A DINING OR RECEP 
TiON ROOM 
Paneled clado with alternating stencil ornanaents; also 
paneled ceiling. 



80 HINTS FOR PAINTERS 

setting, but this is not necessary if glue water is used. 
It is best not to paper over a patched wall for several 
days as the damp plaster is apt to stain the newly- 
applied paper. After the plaster is dry, coarse sand- 
paper should now be rubbed over the whole surface, 
so as to make it as level as possible, and then the 
room is ready for papering. 

If the wall has been whitewashed or distempered, it 
will be necessary to soak and clear this ofif and the 
cleaned wall sized before the paper is applied. If 
this is not done, the paper will soon peel off. The 
sizing, consisting of a little glue added to water, 
should also be applied to new walls. 

Paste. — If one is near a source of supply, the best 
and most convenient way is to buy the paste already 
prepared, all that is necessary is its being thinned 
until it is of the proper consistency. Care must be 
taken that it is not lumpy. 

There is now on the market prepared paste powder 
that only needs the addition of cold water to make 
an excellent paste, but if it is necessary to make a 
paste, take two pounds of fine flour, put in a pail ; add 
cold water, and stir it up together in a thick paste. 
Take a piece of alum about the size of a small chest- 
nut, pound it fine and throw it into the paste; mix 
well. Then provide about six quarts of boiling water 
and mix while hot with the paste until the whole is 
brought to a proper consistency. This makes an ex- 
cellent paste, and fit for use when cold. 



AND PAPER-HANGERS 81 

Cleaning Paper-Hangings.— A very good method 
to clean paper-hangings is that used oftentimes in 
cleaning the margins of prints. Cut into eight pieces 
a loaf of bread two days old, and after having swept 
all the dust from the paper-hangings, commence from 
the ceiling downward, and somewhat lightly rub the 
paper with a downward stroke with one of the pieces 
of bread. Continue this around the room, and then 
commence lower down in the same way till the whole 
of the surface of the paper has been gone over. The 
bread will from time to time get dirty, and it should 
be cut off as often as required. Care should be ex- 
ercised not to rub the paper with a cross or horizontal 
stroke, only with the perpendicular movement of the 
hand, or the paper may peel off the walls from the 
joints. With careful manipulation, paper will look 
almost as good as new. 

Choosing the Paper. — We come now to choosing 
the paper, sometimes a very formidable task. This 
choice is usually left to "the lady of the house," prob- 
ably on the supposition that she has better taste in 
such matters than her husband. If the paper is of a 
cheap grade, in most cases the wall paper dealer will 
send a book of patterns measuring, perhaps, 24 inches 
by 18 inches, and from these small samples the occu- 
pier of the house is expected to make a selection. It 
is this which gives rise to so much disappointment. 
A small piece conveys a very little idea of the ap- 



^* 



82 HINTS FOR PAINTERS 

pearance the room will present when the walls are 
covered all over with the same patern, and it is far 
better, where it is practicable, especially in the prin- 
cipal rooms, to obtain a roll or two of those papers 
which appear to be most suitable, and to pin them on 
the wall, so as to gain a good idea of the appearance 
they will present. 

The following hints should be borne in mind: For 
a small room choose a small pattern paper; never a 
large one, which will make it look smaller still. A 
room with a low ceiling will look higher than it is if 
a pattern having vertical stripes is chosen. The re- 
verse of this is true of an unusually high room, which 
will not look so high if the paper having horizontal 
stripes is used. "Gold" papers, or those which have 
bronze or imitation gold, in the design, are now rarely 
used, being rightly considered as somewhat vulgar, 
excepting in public or important rooms. Large pro- 
nounced patterns are usually not desirable, because 
they detract from the repose or quiet appearance a 
living room should present. A bedroom should al- 
ways be papered with a cheerful design, and geomet- 
rical figures be avoided as far as possible. 

In choosing a paper for a hall or staircase, or any 
room or apartment which is somewhat bare in ap- 
pearance or devoid of furniture, it is always well to 
select a hanging of bold design and somewhat vivid 
coloring. On the other hand a room full of furniture, 
especially if small and with many pictures on the 



AND PAPER-HANGERS 83 




BEDEOOM DECORATION. 

Paneled dado in chambray or linen paper giving fabric 
effect; frieze of conventional design in cretonne or chintz 
paper. 



84 HINTS FOR PAINTERS 

walls, would be wholly spoiled by a bold design. 
During the last few years there has been a distinct 
tendency toward employing papers with little or no 
pattern at all. At this writing ingrains are much in 
vogue. These papers are dyed in the process of man- 
ufacturing instead of being grounded or treated with 
the distemper color on the surface as is usual with 
ordinary wall papers. 

An excellent effect is produced in decorating a 
room with such a plain -ingrain, especially if a good 
bold frieze is employed to form a finish, and take 
away from the bare effect. The objections to in- 
grains, however, is that they are very apt to lose 
their color, and also that they are very difficult to 
handle, as they are almost like blotting paper in 
texture, and they rapidly absorb the moisture from 
the paste. For many purposes an ingrain paper or its 
equivalent, having printed upon it a very small set 
design, produces good results. 

In selecting papers it should be remembered that 
it is not necessary to pay a high price in order to get 
a good design, as the decorator of to-day finds the 
field full of opportunities for novel and efi^ective 
treatments that are out of the commonplace, yet at 
the same time comparatively inexpensive. The man- 
ufacturers of wall papers and other decorative ma- 
terials have been vying with one another to produce 
novel and up-to-date materials which can be used to 
obtain original effects, and there is no excuse for the 



AND Px\PER-HANGERS 



85 




BEDBOOM DECOEATION 
Paper giving fabric effect, relieved with narrow floral 



86 HINTS FOR PAINTERS 

decorator with brains following in the beaten rut, 
or for the house owner whose home does not reflect 
any individuality of taste in the wall decorations, the 
hangings and other features of that character. The 
wall papers of the present season are noteworthy for 
their artistic design and beauty of coloring, and 
while, of course, every manufacturer is obliged to put 
out each season a number of patterns that are showy 
and commonplace, and intended to meet a demand 
from an uneducated class, yet even these so-called 
''bread and butter" designs are better, both in their 
drawing and coloring, than similar patterns of previ- 
ous seasons. But almost every line of wall paper 
shows the influence of the education along decorative 
art lines which is being carried on by the popular 
magazines and in the schools of the country. People 
know a great deal more of the harmony of color, and 
of what is good taste and what is bad, than they did 
a few years back. They have learned that decoration 
does not look to garish display, but depends on 
breadth of color treatment and is effective because of 
its simplicity. The mission and craftsman styles are 
direct results of this revulsion of feeling against the 
too ornate and the vulgarly tawdry display of the 
past generation. It is true that refinement of decora- 
tion does not necessarily need to go to such extremes 
as this, but the popularity of these styles indicates 
that simplicity as a keynote in decoration meets with 
the popular approval. To meet this demand for 



AND PAPER-HANGERS 87 

broad color effects, and yet at the same time to avoid 
the use of perfectly plain papers, which are not eco- 
nomical because they so readily show disfigurations 
from the unavoidable knocks which the walls almost 
always get, or the irregularity of the plaster, or stains 
due to the action of the lime in the walls or to dirt on 
the surface of the paper, almost all the wall paper 
manufacturers offer a more or less extensive line of 
fabric effects. Some of these imitate plain burlaps, 
denims or grass cloths, while in others these effects 
form a back-ground upon which conventional figures 
are powdered, or a more or less intricate all-over pat- 
tern appears in a darker tone of the background color, 
giving the eft'ect of a woven or printed fabric. One 
of the most popular of these grounds, for bedroom 
decoration, is chambray, or linen effect, in almost all 
the colors that one would see the actual goods, such 
as blue, green, ox-blood, pink, brown — resembling, 
in some cases, a dark unbleached linen. These cham- 
bray papers are either used to cover the entire wall, 
with a narrow floral or landscape border at the top; 
or they may be used in panels, with some one of the 
narrow "binders," or floral or ribbon and bow-knot 
borders, that are found in almost every line of wall 
papers. Another treatment is to use the chambray 
paper for the lower two-thirds of the wall, capped 
with white enamel photograph rail — a narrow shelf- 
molding with a groove in the top for the purpose of 
holding photographs, with a picture moulding under- 



88 HINTS FOR PAINTERS 

neath. Above this rail there is a frieze treatment, 
formed by using a cretonne or chintz paper of an 
appropriate color. Many of these papers are made 
to match imported cretonnes and chintzes that can 
be used for the window hangings, giving a very 
dainty and attractive room. Again, a chambray 
paper may be used to cover the ceiling, and run down 
upon the side walls for a couple of feet, a floral cre- 
tonne or other figured paper being used for the base. 
For a small room with a low ceiling a very pretty 
effect may be obtained by running a plain chambray 
from the baseboard to the ceiling angle, a picture 
molding being used in lieu of a cornice. A few inches 
below the ceiling, one of the popular ribbon patterns, 
showing a ribbon about two inches wide with occa- 
sional bow-knots and roses, should be neatly cut 
from its white background and run round the room 
as a border. The ribbon, of course, should be of a 
contrasting color, as for example, pink on a light 
green ground ; buff on a blue chambray, or blue on a 
pink ground. 

These chambray papers are also made with borders 
having the effect of white applique embroidery or 
white lace against a ground of the same fabric. Some 
of these lace borders may be used very appropriately 
for the purpose of forming large French panels. Or 
in a low room, the side wall may be a plain chambray 
with a lace border at the top and just above the base- 
board. 



NEW YORK — HENRY BOSCH COMPANY — CHICAGO 




A hall decoration of novel design, consisting of a plain wall, vertical band and crown, 
all being of leatherette finish. 




For the LIBRARY or LIVING ROOM 




Jhowing the decorative possibilities of a simple eidewall and crown border, a stile and 
lado filling being used. Tbe arrangement of panels may be varied to suit any space. 



NtW YORK — nt-JNKY iSUbLrt CUMPAN Y — CHICAGO 





1 



'^ I 'HE *"■ cut-out border is deservedly 

trie most popular style or decoration 

for Dedrooms. We nave an attractive 

assortment, adaptable to any color scneme. 



AND PAPER-HANGERS 89 

Another class of papers that are much used in mak- 
ing up original decorative treatments are what are 
known in the trade as **clothy" effects. These are 
two-toned papers in which small conventional figures 
are thickly sprinkled over a background one or two 
shades lighter in tone, giving the effect of woven 
goods, although there is no attempt to indicate the 
texture by overprinted lines as in tapestry or a cham- 
bray paper. The figures are simply printed in solid 
color upon a plain ground color. They are made in 
all grades of wall paper from blanks or flats — a cheap 
grade printed on white stock — to the more expensive 
ingrains or cartridge papers and the "duplex" papers, 
which have an ingrain face and a backing of a harder 
surface paper. Of course, in these latter papers, the 
resemblance to a cloth fabric is very much stronger 
than in the lower priced goods. But in all classes, 
the general decorative effect is excellent. These 
papers are especially suited for dadoes, or for panel 
fillers, or are well adapted for use with the independ- 
ent pictorial friezes that can be obtained in such vari- 
ety, both in the imported and American papers. 
These friezes may also be used very satisfactorily in 
combination with two-tone stripe papers. Some of 
these are very beautiful, having dull stripes alternat- 
ing with others of a silky or satin like luster. Of 
course, the plain cartridge or ingrain papers meet 
with much favor, but they unfortunately are very 
apt to stain, and being colored in the pulp, instead of 



90 HINTS FOR PAINTERS 

having the color applied to the surface like ordinary 
papers, are very apt to run uneven in color, one edge 
of the roll being often a shade or two lighter than 
the other edge. As a consequence, if these papers 
are hung just as they are cut from the roll, with the 
same end toward the ceiling, a very disagreeable 
streaked effect will be observed. This can be ob- 
viated by the careful paper-hanger, who will cut two 
lengths of paper from the roll and reverse them, thus 
bringing the light edge of one length next to the light 
edge of the adjoining strip, and so on. By exercising 
care in matching the papers, the unevenness in the 
color will not be observed. 

A striped paper is well adapted to produce a pan- 
eled effect, and the method of doing it is much sim- 
pler than where the panels require to be carefully laid 
out by the paper-hanger. Fig. i illustrates an effect 
that may be produced by a striped paper to form a 
paneled dado, or the panels may run the whole height 
of the room. The paper is first hung as shown on 
the right, the breadths running vertically from the 
top line of the dado, which is usually capped by a 
picture moulding or by a chair or plate rail, down 
to the baseboard. The finished panels are shown on 
the left. These are made by taking a breadth of the 
paper, shown on the left of Fig. 2, and cutting it as 
indicated by the line A, B, C, D, E, in a saw-tooth 
pattern, the angles being exactly forty-five degrees. 
In this case two strips are left on the edge of the 



AND PAPER-HANGERS 



91 




Fig. 1 




Fig. 2 



92 HINTS FOR PAINTERS 

paper in order to form a top and bottom border to 
the pattern above and below the stiling of the panels, 
but there is only need for leaving one stripe 
the base and cap being formed by the baseboard and 
the chair rail or picture moulding. The saw-tooth 
paper is hung over the paper that has already been 
hung, care being taken by the paper-hanger to get 
the miters true, which is easily done, for all wall 
paper is capable of shifting and stretching slightly. 

Where the increased expense does not prove a det- 
riment, grass cloth is one of the most beautiful wall 
decorations, where broad, single color effects are de- 
sired. This material is imported from Japan, and as 
its name indicates, is a fabric woven from some of 
the fine grasses or materials of that nature found in 
that country, and mounted on light yet very tough 
paper. The total thickness is about the same as tl\at 
of a heavy ingrain paper. It is very pliable and just 
as easily cut and trimmed as any high-class wall 
paper. It comes in all the prevailing decorative col- 
ors, and owing to its texture, there is a very pretty 
play of color over the surface, which makes it par- 
ticularly effective. The Avriter recently saw a very 
attractive parlor in a suburban house, the walls of 
which were hung with green grass cloth. About two 
feet below the rather low ceiling a white enamelled 
photograph and picture rail was used, that served as 
a resting place for small pictures, plaster casts, bits 
of pottery and other small pieces of bric-a-brac. A 



AND Px\PER-HANGERS 93 

two-inch white molding served to break the angle of 
the ceiling, which was tinted a cream white. The 
plain green surface of the lower wall made an excel- 
lent background for a number of good pictures. 

In regard to cut-out ornaments, a New York wall 
]:)aper house has recently brought out some very 
beautiful lithographed ornaments of this character 
that are sold ready cut out. Those already intro- 
duced show swags of flowers, with cupids, baskets 
of flowers, bouquets, of roses and the like, suspended 
within the sv/ag. These paterns are made eighteen 
inches wide, or just the width of ordinary wall paper 
after it is trimmed, and they can, of course, be used 
on any color or kind of background, from a plain tint 
or a mica or silk stripe to a chambray. Of course 
they would not look well on a figured back-ground, 
and being themselves printed in delicate colors, nat- 
urally look best when used upon light back-grounds. 

The pictorial friezes already spoken of can be used 
in a great many original ways by the decorator who 
is awake to their possibilities. We illustrate a sug- 
gestion in wdiich a coaching frieze is utilized in the 
decoration of a dining room. This frieze is made in 
six-foot lithographed sections, printed in oil colors. 
Each section is different and the complete design is 
thirty feet long before it repeats. The sections may 
be used indiscriminately, in any order preferred so 
that practically there is not a continued repetition in 
the room. 



94 HINTS FOR PAINTERS 

In the decorative treatment illustrated, the frieze 
forms the key-note of the design and is used as the 
crowning feature of the tall panelled dado, which can 
1)e made of wood, or the panels may be filled with 
buckram or burlap and the stiling onl}; made of wood. 
The dado is capped with a shelf molding that serves 
as a resting place for steins and jugs, the upper por- 
tion of the wall being hung with a grass cloth. The 
cornice is made up of a series of arches, with plaster 
or plastic relief shell ornaments, and under every 
other arch is an electric-light bulb. This cornice 
should be in ivory white, of the tone of old ivory, the 
ceiling being somewhat lighter. The wainscot and 
the other woodwork of the room may either be in 
forest green or fumed oak or may be finished in white 
or ivory enamel. 

Some of the pictorial friezes are well adapted foi 
cutting into short lengths, framing thea^ up vith 
narrow borders of wall paper binders, and centering 
them in the upper part of large French panels, 

Pictorial friezes are made with what are known 
as extensions. For example, on one roll Tna.y be 
printed a series of pictures of hunters in red coais 
leaping a five-barred fence, with a pack of hounds, 
in full cry, after a fox or deer, while another roll is a 
forest scene without figures. The decorator may 
space his huntsman at will upon the wall, depending 
upon the shape and size of the room, filling in the 
space between them with the forest extension. The 



AND PAPER-HANGERS 



95 




"s — B — a e — m — m — e — m — m s" 




r^j'^'^^^r^''^^^ 



\ i \ 1 1 



I \ 



DINING ROOM DECORATION 

Coaching frieze used over paneled dado, capped with shelf 
mould; upper portion of wall hung with glass cloth; cornice, 
a series of arch£S_with plastic relief shell ornaments. 



96 HINTS FOR PAINTERS 

writer recently saw a den decorated with a pictorial 
frieze of this character. The ceiling was covered 
with a mustard yellow ingrain paper, and a breadth 
of this paper, which was twenty-one inches wide, was 
run round the room, instead of up and down, just 
below the frieze. Below this was a photograph rail, 
while the lower portion of the wall was a striped Ori- 
ental tapestry effect, the principal color-tone of which 
was red. This merely gives a suggestion for the use 
of these extension friezes, which are made in many 
different designs, and characters of subjects. 

The cut-out poster friezes for dens and nurseries 
also offer many opportunities for original treatment. 
These come in sheets or panels, the figures from 
which are to be cut out and arranged at will against 
a plain ground, for in these poster pictures, back- 
grounds are looked upon as superfluous. Of course, 
a little ingenuity enables the decorator to tell a story 
with the pictures that will interest children in the 
nursery or please the grown people in the den. 

Papering the Hall. — Every house that is built pre- 
sents as a puzzling and perplexing problem to the 
decorator in the treatment of the wall along the rake 
of the stairs. The difficulty does not lie alone with 
the fact that the lines are angular, because the space 
included in a gable does not present such a perplexing 
problem, on account of it being symmetrical. A 
triangular space is not necessarily difficult to treat, 



AND PAPER-HANGERS 



97 




y» HINTS FOR PAINTERS 

because a special form of ornament can always be.de- 
signed to fill it, but the staircase wall adds to the 
sloping line the fact that any decoration which is to 
be employed on this wall must at the same time be 
carried along the level walls of the hall in each story 
and across the level spaces at the landings. Where 
posts are introduced by the architect, they form a 
natural break, which the decorator may take advan- 
tage of, but, unfortunately, such posts are seldom 
used on the flat wall surface, hence the decorator is 
compelled to meet the problem of carrying up the 
rake of the stairs, without a break, the same ornament 
which is used on the hall walls, or else he must stop 
it abruptly, without any apparent reason for doing 
so. To add to the difficulty, in many houses the ceil- 
ing line makes a sudden break over the start of the 
stair where the well begins, and the side wall, which 
is only nine feet high, suddenly becomes a blank 
wall space of eighteen or nineteen feet in height. In 
such a case there seems no alternative to stopping 
the frieze at the break, even though such stoppage 
may be difficult on account of the design being a con- 
tinuous one, without any good method of terminat- 
ing it. This is almost always the case with the or- 
dinary wall paper or stenciled border, unless it hap- 
pens to be such a pattern that a panel or other natural 
break occurs at regular intervals. To overcome this 
difficulty, the paper-hanger should lay out his work 
from this break in the level, selecting the best point 



AND PAPER-HANGERS 



99 




STAIR HALL DECOKATION. 

Panels in dado should be perpendicular and form a 
of t)reaks or steps, as at left; the two panels shown at right 
are faulty. 



100 HINTS FOR PAINTERS 

for cutting the border, and run away from the stairs, 
instead of beginning at the door and running toward 
the stairs, letting the border stop as it wilL 

Where a picture moulding is used, another difficult 
problem is presented. If the moulding follows the 
rake of the stairs, it serves no practical purpose, but 
is merely ornamental ; yet if, on the contrary, it is car- 
ried along the level, so that pictures may be sus- 
pended from it at any point, it will run against the 
baseboard, if continued far enough. In general, it 
is wiser to carry the picture moulding along the 
slope, and let it serve merely as a divider between 
the frieze and wall or a break of the ceiling angle. 
Where an upper third treatment is used, this prob- 
lem of the picture moulding becomes of great im- 
portance, and what to do with the side wall at the 
point where the stair begins is very difficult to deter- 
mine. It is almost impossible to lay down any gen- 
eral rule for the treatment at this point, but the deco- 
rator must be governed by common sense and take 
the special conditions into account. Sometimes the 
divisions may be made along a series of right angled 
breaks, like large steps. 

Many very attractive frieze and border designs are 
not adapted for carrying up the rake of the stairs, 
because they require to be vertical in order to view 
them properly. A pictorial frieze looks absurd when 
it is hung upon a sloping line, and so would a design 
that introduces the Empire torch or a basket of flow- 



AND PAPER-HANGERS 



101 




Fig. 4 



EFFECTIVE TREATMENT OF DADO PANELS IN STAIR 
HALL DECORATION. 



102 HINTS FOR PAINTERS 

ers suspended by a ribbon. Such a design, when fol- 
lowing the slope, gives one the feeling of being on a 
ship at sea that has been tossed on a wave and is held 
in the grip of a frozen storm, which prevents it from 
ever regaining its equilibrium. Better by far to stop 
a border of this character at the end of the level 
stretch and let the sloping wall go undecorated. 
Where an upper third treatment is used, the pattern 
can, of course, always be hung vertical, and this dif- 
ficulty is not met with. 

A panel dado also presents many difficulties. For 
example let us consider the dado shown in Fig. 3, 
which is formed by using a two-toned stripe wall 
paper, cutting it at the top and base in miters, to give 
a paneled effect. If the panels are made like the 
two shown on the right of the sketch, although this 
presents the fewest mechanical difficulties for the 
paper-hanger, the appearance is given of a series of 
panels that seem to be constantly sliding down hill. 
This fault is often met with in wood paneling, but 
perhaps does not impress one so much in wood, on 
account of the rigidity of the material, as it does 
when wall paper decorations are employed. It is 
much better to arrange the panels to form a series 
of breaks or steps, as shown on the left. When this 
is done it will be necessary to match up a plain paper, 
using triangular pieces to fill in the gaps in the stil- 
ing. The border that caps the dado also presents the 
difficulty of mitering at a different angle than a right 



AND PAPER-HANGERS 



103 




EFFECTIVE TREATMENT OF DADO IN STAIR HALL 
DECORATION. 

Stencil design based on Greek honeysuckle ornament. 



104 HINTS FOR PAINTERS 

angle, and particular care must be taken, whenever 
possible, to so arrange the break that the pattern 
will hide the cutting. This requires considerable in- 
genuity, but it can generally be accomplished to a 
greater or less extent. 

The advantage of this treatment is much more evi- 
dent in Fig. 4, which shows a design that may be 
executed either in wall paper or by means of sten- 
cils. Here the panels are so arranged that one comes 
above each tread of the stairs. If the panels sloped, 
the floral figures in the centre of each would look 
unbalanced, and this would be even more noticeable 
in the case of a square set figure, or a heraldic pat- 
tern or shield. While considering this design, it 
might be well to suggest a suitable color treatment. 
The long panels might be either in bright red, or 
in a strong, deep, rich blue, against which as a back- 
ground, the stencil can be done in ivory white or 
gold bronze, either of which would show very well 
indeed. The same coloring would be used for the 
narrow border at the top of the dado, which takes 
the place of a moulding. The upper wall could be 
in a tone of gray or deep straw color. 

When we come to the use of stencils, many orig- 
inal treatments can be introduced effectively. For 
example, we illustrate a design based on the Greek 
honeysuckle ornament, which would look very ef- 
fective indeed for a side wall treatment. The pat- 
tern terminates in a series of pointed figures that rise 



AND PAPER-HANGERS 105 

one above the other as they follow the slope of the 
stairs. The vertical lines serve to connect the de- 
sign with the baseboard in such a way as to carry 
up the lines of the stair risers and show at a glance 
the reason for the peculiar treatment. The band of 
color below the ornament serves to bind the whole 
design together. The Art Noveau style is full of 
motives for decoration which are particularly suit- 
able for carrying up the rake of a staircase, the long 
stems of the flowers and the flowing lines adapting 
themselves remarkably well to an irregular space 
such as will be found here. 



106 



HINTS FOR PAINTERS 




^A^^ 
*'%? 






» 



^mm 



\ 



i 



AND PAPER-HANGERS 107 

STENCILING 

The art of stenciling is almost as old as that of 
decoration itself, although in its earlier forms it was 
but a crude and clumsy method for the duplicatiuii 
of a design. Nevertheless, the idea is such an ele- 
mentary one that it was early conceived that a de- 
sign might be indefinitely repeated if it were cut in 
a thin sheet of metal, or any other substance, such as 
paper, parchment or the like, and the paint brushed 
on the surface to be decorated, through the openings 
or perforations left in the stencil plate. Stenciling 
was much used in medieval work, but began to be 
neglected in Europe at the time of the Renaissance, 
when decorative art was copied from the classic style 
rather than originating with the workman. The 
churches and palaces were ornamented with original 
paintings by great masters, while the people's homes 
went bare. 

But as time passed on and the people began to 
grow richer, they demanded ornament in their 
houses; and the art of stenciling was again revived 
as a decoration. It was originally crude in design 
and usually consisted of an attempt to imitate those 
forms of ornament which would be difficult to paint,, 
except in free-hand work. In order to overcome the 
mechanical difficulties of making the stencil, the ties 
that are necessary to hold the parts together were 
left wherever they might be needed for strength, 



108 HINTS FOR PAINTERS 

and hence became mere meaningless breaks in the 
continuity of the ornament, which must necessarily 
be touched out by hand before the design was per- 
fect. As this added materially to the expense, the 
ordinary stencil borders and other ornamental work 
in moderate priced dwelling houses, and even in the 
churches and public buildings, up to a comparatively 
recent period, were crude in design, and inartistic in 
character and finish. 

When Japanese art began to be popular, about 
thirty years ago, it was found that these clever little 
brown men of the East had carried the art of stencil 
cutting and reproduction by means of stencils to a 
stage of perfection which we have been unable to 
equal even yet. The most intricate ornamental de- 
signs, pictures of men, birds and fishes, are all repro- 
duced by means of stencils, with a delicacy that the 
clumsier fingers of the Western peoples cannot hope 
to imitate. Nevertheless our designers h-ive been 
able to study the principles of design used by the 
Japanese, and by applying them, the art of stenciling 
has advanced wonderfully within the past score of 
years. It was seen that the Japanese so designed 
their ornaments which were to be reproduced by 
stenciling that the ties formed a natural part of the 
design, rather than a break across places which 
should be continuous. In other words, they adapted 
the design of their ornament to the limitations of the 
stencil, instead of making an attempt to produce or- 



AND PAPER-HANGERS 



109 



nament by stenciling that is adapted only for free- 
hand reproduction. The growth of the New Art, 
which had its origin with William Morris and has 
since been wonderfully developed both in England, 
Germany and France, and has been the actuating 
spirit in the Mission and the Craftsman styles in this 
country, has given a great impetus to stencil decora- 
tion, since the spirit of the new art is to let the con- 
struction be frank. 

Stencil decoration, although a mechanical method 
of reproduction, is nevertheless capable of greater in- 
dividuality in both its treatment and its execution 
than any other method of ornamentation except 
actual free-hand painting. Not only is it possible for 
the decorator to design and cut his own stencils to 
suit the requirement of the work in hand, and so im- 
press his own originality on their design — a thing 
he cannot do with wall paper or other applied orna- 
ment but by varying the color and the methods of 

handling the brush, he can produce many different 
treatments with the same stencil, and can change the 
effect very much in different parts of the same room, 
when desirable. The interest taken by decorators 
and the public alike, in this new art of stenciling, has 
made it possible to obtain high class cut paper sten- 
cils adapted to all purposes and in almost all the 
period styles. There are several stencil designers, 
principally in New York and Chicago, who make a 
business of supplying decorators with these stencils. 



110 HINTS FOR PAINTERS 

ready cut, and who not only issue catalogues con- 
taining large numbers of designs which will be cut 
and supplied on short notice, but who will also de- 
sign a special decoration for any room and will fur- 
nish all the necessary stencils for it as well as a color 
scheme, if desired. 

Using the Stencil. — The stencils used by decorators 
are usually cut from a tough manila paper that has 
been treated so that it will not be affected by either 
oil or water color paint. A tough and not too heavy 
paper should be selected, such as architects use for 
making detailed drawings, and saturated with boiled 
linseed oil, after which it should be hung up until 
thoroughly dry. Then a thin coat of shellac varnish 
should be applied to both sides of the paper. This 
treatment makes the paper very tough and durable, 
while the shellac makes it impervious to the color. 
Some painters use an ordinary oil paint instead of 
shellac. Ready prepared paper may be bought, if 
the designer does not care to go to the trouble ol 
making it for himself. Where stencils are subjected 
to a great deal of rough use, such as those used in 
railroad car shops that are employed for lettering 
freight cars, they are sometimes made of shadecloth 
or of this material fastened to a paper backing by 
means of shellac, and then painted both on the face 
and back. These stencils, however, lack the delicacy 
of the cut paper stencils first described, because their 



AND PAPER-HANGERS 111 

EFFECTIVE STENCIL DESIGNS FOR FRIEZES. 



112 HINTS FOR PAINTERS 

greater thickness makes it more difficult for the op- 
erator to get the brush down into the corners of the 
design, which therefore lacks sharpness. 

In using a border or frieze stencil, a chalk line 
should first be snapped around the room as a guide 
line. Some decorators prefer to use charcoal instead 
of chalk, because the latter leaves a mark of a some- 
what greasy nature, which is difficult to erase, while 
charcoal may readily be dusted off. Moreover, the 
chalk has a tendency to cause peeling in the paint. 
Where a design is continuous, as in the case of a 
border, it is sometimes the custom to punch four 
quarter-inch holes, at the corners of a rectangle, the 
sides of which are the repeat lines of the design, pro- 
duced above and below the pattern, as guides or reg- 
ister marks, the same as are used in color printing. 
This is needed when two or more stencils of differ- 
ent colors are used; but where only a single stencil 
is employed, it is not required if the same opening 
occurs at both the right and the left ends of the sten- 
cil. It is merely necessary to see that the opening 
at the left exactly covers the last portion of the or- 
nament to the right of that already stenciled, in or- 
der to get the distance that the stencil is to be moved 
to the right; while notches cut in the edges of the 
stencil to the right and left, and kept on the chalk 
line, will insure the pattern running straight or level. 
In any but the smallest patterns the stencil should be 
secured by two or more push pins or thumb tacks 



AND PAPER-HANGERS 



113 



to insure that it is not moved during the operation of 
stenciling. 

In order to insure sharp outlines, the stencil must 
be cleaned off occasionally with a rag dampened with 
turpentine or benzine, if using oil paint, or with a 
rag dampened with water if using water color. Lay 
the plate face down on a piece of clean paper laid 





Fig. 5 



Fig. 6 



on a table, exposing the smeared side of the stencil, 
and gathering the rag into a bunch so that the edges 
will not catch on the stencil, rub carefully with a 
circular movement. When the work is finished, the 
stencil should be carefully cleaned before putting 
away. 

The brushes used for stenciling should have flat 



114 HINTS FOR PAINTERS 

or square ends, and are indicated in Figs. 5 and 6. 
Special brushes are made for the purpose by all man- 
ufacturers of paint brushes. For small work, where 
a special brush is not obtainable, a shaving brush 
may be cut off so as to have a flat end. For large 
stencils, special brushes are made, shaped like 
shown in Fig. 6. In any case, the handle should be 
short, the brush being held between the thumb and 
middle finger, with the fore finger on the end of the 
handle. Held in this position, the workman is soon 
able to judge by the sense of touch whether the paint 
is being properly applied or not. Japanese brushes 
made of soft fine hair can be obtained that are much 
better than ordinary bristle brushes. 

Whether oil or water colors are used, the paint 
must be mixed stouter or thicker than for ordinary 
painting, or say about the consistency of thick cream 
or thin paste. The paint must not be very quick dry- 
ing, except for textile fabrics or other surfaces that 
have not been newly painted. The paint must be 
strained through wire gauze or cheese cloth before 
using, in order to avoid lumps of any kind. 

The stencil brush, which must be clean and dry, 
to begin with, is dipped lightly in the paint and then 
rubbed two or three times on a pallette or piece of 
stout paper that must be kept handy, in order to 
remove any surplus paint in the brush. The paint is 
applied by a gentle hammering or tapping of the 
brush, known as "stippling." The brush must not be 



AND PAPER-HANGERS 



115 




DECORATIVE SCHEME FOR DOOR, ART NOUVEAU 
STYLE. 



116 HINTS FOR PAINTERS 

rubbed as in ordinary painting or the color will be 
scraped off and carried under the edge of the sten- 
cil, giving smeared or wooly edges, such as one sees 
on boxes when they have been carelessly lettered by 
means of brass stencils. The stippling should be 
started on the largest openings, where too much 
color on the brush will not be so disastrous as it 
would be on the smaller openings and the brush must 
be worked from the edges toward the centre in every 
case. Whenever practicable, keep the edge of the 
opening under the brush, and never brush toward the 
edge or the color will run under it. The smaller de- 
tails of the design should be finished with a very 
moderately charged brush. Before lifting the sten- 
cil, it should be carefuly examined to see whether 
any place has been left uncolored, especially in the 
sharp corners and angles. Defects of this kind are 
much more apparent after the stencil has been lifted 
than before, so great care must be exercised. The 
plate must be lifted very carefully, after the pins 
have been removed, in order to avoid sliding the 
stencil over the wet paint and producing streaks and 
smears. 

Very beautiful effects can be obtained by the use 
of two colors on the same stencil, using two brushes 
and blending one color into the other. Or different 
parts of the design may be stenciled into different 
colors. Odd and beautiful effects are sometimes ob- 
tained by wiping out a portion of the color, here and 



AND PAPER-HANGERS 



117 

















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t ' 


4 W 


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T]SE OF TALL, NARROW PANELS TO FORM a HIGH 
WAINSCOT 

Panels formed b;y scotia mouhlings ot hardwood, upper 
pan stenoiled with stiff conventioaal roses, a moulding used 
at basf- of '-ovf- cornicfc 



118 HINTS FOR PAINTERS 

there, by means of a soft cotton rag held over the 
thumb. This must be done while the stencil plate 
still remains on the work. 

Stenciling may also be done by means of a spray- 
ing apparatus. This gives very soft results, especially 
with water colors. Where the special apparatus 
made for this purpose is not obtainable, an atomizer, 
such as is used for spraying perfumes, can be em- 
ployed. It can be obtained at small cost at any drug 
store. For this, a thin and very fluid color will be 
needed to avoid clogging, and Diamond dyes have 
been recommended. 

Cutting Stencils. — Before cutting a stencil, the de- 
sign should be transferred to the stencil paper by 
means of a carbon transfer sheet, such as is used for 
duplicating on the typewriter. This is laid, face 
downward, on the stencil sheet, and the design is 
pinned down above it, face upward. Its outlines are 
then followed with a sharp, hard lead pencil. On 
removing the design and carbon sheet, the outlines 
will be found transferred to the stencil sheet. The 
cutting must be done with the sharp point of a knife, 
held in the position indicated by Fig. 7, always cut- 
ting toward the operator. The surface to cut on 
must be either a sheet of glass or zinc, the former 
being preferable. An oilstone must be kept at hand 
and the knife sharpened frequently. A pocket knife 
with a short, stiff blade, of the shape indicated, may 



AND PAPER-HANGERS 



119 



be used for cutting. A shoe knife, or one of the 
knives used by bookkeepers for erasing, can be em- 
ployed if desired. A clean, sharp cut must always 
be made, and the stencil paper should be turned as 
the work progresses. 

Fig. 8 indicates a sheet of stencil paper with a de- 
sign of a modified fleur-de-lis cut in it, while Fig. 9 
shows the same design as it would appear when 
stenciled. 




Fig. 7 



Suggestions for Simple Stencils. — While stencil 
decoration may be of the most elaborate character, 
it will be sufficient, for the purpose of this book, to 
illustrate only a few simple stencils, rather as types 
than for any other purpose. A number of narrow bor- 



120 



HINTS FOR PAINTERS 



ders are shown by Fig. lo. "A" shows a border 
made up of a series of circles, alternately larger and 
smaller. These can either be cut out by a knife, as 
already described ; in which case they will be slightly 
irregular, or they may be punched with steel punches 
that can be obtained in a number of sizes, varying 
by an eighth inch in diameter. In making a stencil 
plate for a border of this kind, from a foot to eighteen 




^^ 



Fig. 8 



Fig. 9 



inches should be made, in order to save time in sten- 
ciling. 

A very useful border, that can frequently be com- 
bined with other designs as a part of an elaborate 
frieze, is shown at "B." "C" gives a hint for another 
border of a simple type that is capable of many varia- 
tions. Diamonds or squares may take the place of 
the triangular figures, or three or more bars may be 
employed, instead of two, as shown. 



AND PAPER-HANGERS 121 

Mosaic patterns are specially adapted for simple 
stenciling, types of them being shown by "D." 
These may be further elaborated into Greek fret and 
other complicated designs, all based on the repetition 
of squares. For work near the eye the squares 
should be from a half to three-quarters of an inch. 
These few borders will show that it is possible to 
build up quite elaborate schemes of decoration from 




»i^i<^i^i«:^i^ 



Fig. 10 



very simple elements, when used in differing combi- 
nations or arrangements. 

A type of stencil that is very effective is known 
as the background stencil, because the background 
is stenciled in, and the design stands out upon it in 
the ground color to which the stenciling has been 
applied. E shows a simple border of this type that 



122 



HINTS FOR PAINTERS 



is very effective. A lattice pattern may be made up 
of the same general character. Fig. ii is a much 
more elaborate border, based on the principle of the 
background stencil. In a design of this kind, care 
must be exercised to make it of such a character that 
the strength of the paper will not be impaired by 
too much cutting away. Angles projecting into the 
openings must also be avoided as much as possible. 
It will be noticed that any design suited for a back- 




FlG. 11 



ground stencil is also adapted for executing in fret- 
work. 

We have hinted in this book at only a few of the 
possibilities that can be achieved by the painter and 
paper-hanger who uses modern inexpensive mater- 
ials, and have endeavored to suggest how easy it is 
for the man with ideas to get results out of the 
commonplace. In the various full page plates given 
in this book the reader will see many examples of 
artistic decoration that can be done with a moderate 
expenditure of money. 



NEW YORK — HENRY BOSCH COMPANY — CHICAGO 




An impressive arrangement suitable for dining room or library. Dado of Lin-0-"WalI. 
Upper work an imported paper of unusual merit. 



WE BASE OUR CLAIMS 

to your consideration on the greater 
numoer of exclusive novelties rouna in 
our stock of Wall- Hangings and our 
ability to adapt tkem to your maividual 
requirements. 

Xne decorative treatments illustrated 
kerem only suggest tbe possibilities of 
tke Boscn line. 

\A/ e nave tne knowledge, tne experi- 
ence, and a Avell-nign limitless variety 
of designs and colorings to secure any 
effect you may desire. 

Tke best service we are capable of 
-will be freely placed at your disposal. 



Henry Bosch Company 

890-892 Broadway, New York 
521-525 S. Wabash Ave., Chicago 




Workshop Companion 

PART II 

A Continuaticn of the First Part, 

Containing Subjects Not Discussed 

in the Earlier Volvime 

By John Phin, Ph. D. 

128 PAGES (5x7 inches) 
Handsomely Bound in Cloth 

price: 50 CENTS 

Sent post-paid on receipt of price 
Your money back if you are not pleased 

yjrHESE two volumes form a practical cyclopedia of 
IJL valuable recipes and directions for the mechanic. 
^^ Unlike many books of recipes this is not a mere 
collection of newspaper clippings but a series of origi- 
nal treatises on various subjects about which it is hard 
to obtain reliable information in any but expensive 
books. 

The subjects treated in Part II include Adamantine 
or Boron Diamonds; Aquarium, how to stock and care 
for it; Mosaicum; Authorship, how to write for the 
press; Babbitt metal for bearings; Balloons; Bast; Bed- 
bugs; Birch Bark Oil; Birdlime; Brunswick Black; 
Bladders; Cadmium; Cameos ; Case-hardening; Cast- 
ings and Patterns ; Chamois; Court Plaster; Crucible: 
Diamond; Dubbing; Ebony; Eelskin; Engravings; 
Fluxes; Care of Furniture; Lutes; Gut; Gutta Percha; 
Care of Hands; Care of Harness; Ice Houses; Night 
Lights; Nails; Luminous Paint; Paint for exposed iron; 
Repairing Paintings; Plaster Casts; Putty; Razor 
Strops; > Smoke Stains; Sponges; Sulphur Casts; 
Thatched Roofs: Veneering: Waterproofing: White 
Metal; Wood Polishing, Zinc Coloring, etc. 

Industrial Book Co/* 



178 FOLTON STREET 
NEW YORK 



H 



HARDWOOD FINISHER 



A SIMLB TREATISE PREPARED 
FOR PAINTERS, CARPENTERS, ETC. 

By C. GODFREY 

109 PAGES (5 X 7 inches) 
FULLY ILLUSTRATED 
Handsomely bound In cloth 

PRICE, 50 CENTS 

Sent post-paid on receipt of price 
Your money back if you are not pleased 



OST mechanics who have had no experience in preparing 
wood for hardwood finish do not care to try it for fear 
of failure ; but we can assure such that if they follow 
closely the methods laid down in this book they will be aston- 
ished and gratified at the results. 

Directions are given at length for the preparation of the 
wood and the application of "fillers," with some good and 
sound advice regarding these important operations. Hints 
on fixing hardwood finish so that nail or screw heads cannot be 
seen are clearly presented, and the whole practice of scraping, 
rubbing and polishing given with a clearness and simplicity 
that the beginner may readily understand. 

Rules and directions for finishing in natural colors, and in 
antique, mahogany, cherry, birch, walnut, oak, ash, redwood, 
sycamore, pine and all other domestic woods ; also for dyeing, 
gilding and bronzing, together with tested recipes for the pre- 
paration of the various stains, fillers, polishes, etc; 

The book is useful to cabinet makers, carpenters, painters, 
decorators, coflSn manufacturers, wood turners, etc., etc. 




INDUSTRIAL BOOK CO. 

178 Fulton Street NEW YORK 



HINTS FOR CABINET-MAKERS 




A BOOK OF HINTS AND PRACTICAL 
INFORMATION FOR CABINET- 
MAKERS, UPHOLSTERERS 
AND FURNITURE MEN 
GENERALLY 

130 PAGES (5x7 inches) 

Fully Indexed 

Handsomely Bound in Cloth 

Price, 50 Cents 

Sent post=paid on receipt of price 
Your money back if you are not pleased 



^ThIS book contains an immense amount of the most 
^ useful information for those who are engaged in 
the manufacture, superintendence, or construction of 
furniture or woodwork of any kind. It is one of the 
cheapest and best books ever published, and contains 
over one thousand hints, suggestions, and methods ; 
and descriptions of tools, appliances, and materials. All 
the recipes, rules and directions have been carefully 
revised and corrected by practical men of great ex- 
perience, so that they will be found thoroughly trust- 
worthy. It contains many of the recipes recently sold 
at from $5 to $500. 

The book gives a description of all kinds of 
finishing, with full directions therefor ; varnishes, pol- 
ishes, stains for wood, dyes for wood, gilding and silver- 
ing, recipes for the factory, lacquers, metals, marbles, 
pictures, engravings, glues, pastes, raising veneers, 
bruises in furniture, polishing marbles, saw sharpening, 
to prevent belts slipping, marking tools, moths in 
carpets, solder, removing ink stains, etc., etc. 



INDUSTRIAL BOOK CO. 



178 Fulton Street 



New York 




HOW TO MIX PAINTS 

A SIMPLE TREATISE PREPARED TO 

MEET THE WANTS OF THE 

PRACTICAL PAINTER 

By 

C. GODFREY 

64 PAGES (5x7 Inches) 

Fully Illustrated 

Handsomely Bound in Cloth 

Price, 50 Cents 

Sent post-paid on receipt of price 
Your money back If you are not pleased 

^JTHIS book is intended for those who have not had 
iH the benefit of a long training and experience in 
mixing colors. 

Simple and clear directions are given so that by a 
little practice the reader may be able to mix the var- 
ious tints and shades of reds, blues, yellows, browns, 
greens, grays and colors made from blacks, japans, etc. 

Besides the directions for mixing paints, notes are 
given about tints and shades, use and care of brushes, 
hints on displaying colors to show customers, color 
harmony, etc. 

This book will be found an exceedingly handy 
companion for both amateur and practical painters. 

The information given in this book will save in 
time and material more than its cost the first day a 
painter has it in use. It is practical, simple, reliable 
and handy, as a very complete index enables one in- 
stantly to find the directions for mixing any tint or 
shade, or to know if the color can be had in dry pow- 
der form without the necessity for mixing, 

INDUSTRIAL BOOK CO* 

178 Fulton Street New York 



The Workshop Companion 




A COLLECTION OF USEFUL AND 

RELIABLE RECIPES, RULES, 

PROCESSES, METHODS, WRINKLES 

AND PRACTICAL HINTS 

By 

John Phin, Ph. D. 

164 PAGES (5x7 inches) 
Handsomely Bound in Clotb 

PRICE 50 CENTS 

Sent post-paid on receipt of price 
Your money back if you are not satisfied 



THE following synopsis of the contents will give an idea of the value 
of this practical book:— Abyssinian gold ; accidents ; alabaster, how 
to work, polish and clean; alcohol, alloys, rules for making; amber; 
annealing and hardening glass, copper, steel, etc.; arsenical soap, beeswax, 
blackboards, how to make; brass, how to work, polish, color, varnish, clean, 
etc.; brazing and soldering, bronzing; burns, how to cure; case-hardening; cat- 
gut, cements, general rules for using; copper, working, welding; coral, artifi- 
cial; cork, working; crayons for blackboards; liquid cuticle; etching copper, 
steel, glass; eye, accidents to; fires, to prevent; fireproof dresses; fly papers; 
freezing mixtures; fumigating pastils; gilding; glass, cutting, drilling, turn- 
ing, fitting stoppers, removing tight stoppers, powdering, packing, imitating 
ground glass, washing glass vessels, etc.; guns, to make snoot close, to keep 
from rusting, to brown the barrels of, etc.; handles, to fasten; inks, rules for 
selecting and preserving; ink eraser; inlaying; iron, forging, welding, case- 
hardening, zincing, tinning, etc.; ivory, to work, polish, bleach, etc.; javelle 
water; jewelry, care of, cleaning, etc.; lacquer, how to make and apply; laun- 
dry gloss; lights, signal and colored; lubricators, selection of ; marble, work- 
ing, polishing, cleaning; metals, polishing; mirrors, care of, to make; nickel, to 
plate with; noise, prevention of; painting bright metals; paper, adhesive, bar- 
ometer, glass, tracing, transfer, waxed, etc.; paper, to clean, take creases out 
of, remove water stains, mount drawing paper, to prepare for varnishing, 
etc.; patina; patterns, to trace; pencils, indelible; pencil marks, to fix; pewter; 
plaster-of-Paris,how to work; poisons, antidotes for; polishing powders, pre- 
parations and use ; resins; saws, how to sharpen; sieves; shellac; silver, clean- 
ing, etc.; silvering, etc.; size, preparation of various kinds of ; skins, tanning 
and curing; stains, to remove from all kinds of goods; steel, temperingand 
working; tin, methods of working; varnish; voltaic batteries; watch, care of ; 
waterproofing; whitewash; wood floors, waxing, staining and polishing; wood, 
staining; zinc. 

industrialTbook CO. 



178 Fulton Street 



NEW YORK 



HOW TO READ PLANS 




A VALUABLE NEW BOOK 

By Charles G. Peker 

60 PAGES (5x7 inches) 

43 DRAWINGS IN TEXT 

8 LARGE FOLDING PLATES 

Handsomely Bound in Cloth 

PRICE, 50 CENTS 

Sent post paid on receipt of price. 
Your money baclc if you are not pleased. 

lANY building mechanics are handicapped from getting 
more pay because they are unable to read plans and 
work from a drawing. 

Of course the best way is to learn how to draw ; 
but many mechanics cannot afford the time for the necessary 
practise. It is for these men that this book was prepared, as 
the author simply explains the meaning of the various lines, 
plans, views, elevations, sections, scales, blue prints, devices, 
symbols, etc., to be found on a set of plans. 

Each subject is taken up and explained and illustrated 
separately, and then a full complete set of architect's plans for a 
frame house is taken up and explained so that the reader will 
be sure to understand how to read plans. 

The book is finely illustrated by 43 illustrations in the text, 
and 8 large folding plates giving the full plan of a 6 room frame 
house. This set of plans alone is worth many times the cost of 
the book ; an architect would charge at least $25 for their equal. 

The useful suggestions, hints, etc., in this book will make 
it of value to even those who understand how to draw as well 
as those who do not. 

It is one of the most valuable books ever got out for build- 
ing mechanics, as its information means increasing a man's 
salary. It is pretty safe to say that to the man who cannot read 
a drawing now this book will mean at least $50 more pay during 
the first year he has it. 



INDUSTRIALr BOOK CO. 



178 Fulton Street 



New York 



Practical 50c. BooRs 

npHE books described below are up-to-date man- 
* uals written by practical men who know how to 
state difficult matters in the simplest language, so that 
the books can be successfully used for home study. 

These books are nearly all i2mo in size, well 
printed on good paper, and artistically bound in 
cloth, and are finely illustrated wherever the subject 
needs it. Any book sent postpaid on receipt of price. 

SHORT CUTS IN CARPENTRY 

By ALBERT FAIR. 90 pages, 75 illustrations. 

The book contains remarks about the carpenter and his 
work, a large-folding plate showing the interior of a house with 
each part named, the use of geometry, mitering, bending 
mouldings around circles, rake mouldings, kerfing, brackets 
for coves, use of the steel square, u«e of 2-foot rule, use of glue, 
working hardwood, hanging and fitting doors and windows, 
laying floors, dish d fioors,~^ roof framing simply explained, 
br.ces, hoppers, etc. 
PRACTICAL HOUSE FRAMING 

By AL'«ERT FAIR, 100 pages, 100 illustrations. 

Expl.iins how to lay out and erect balloon and braced 
frames, sizes of joists, trussing, partitions, floors, bay windows, 
towers, bracing, together with remarks on fire-stops, sheathing, 
clap-boarding, etc. All explained in the simplest language, 
finely illustratod, including a large foldmg-piate giving the 
names of the various sills, studs, plates, rafters, etc. 
HINTS FOR CARPENTERS 

By ALBERT FAIR, 90 pages, 100 illustrations. 

This book brings together some of the best schemes on 
making special tools, such as the carpenter needs for doing his 
work. Describes various kinds of scaflblding, tool-boxes, door- 
holders, besides many other little hints that will lessen work 
both in laying out and erecting. 

STEEL SQUARE AS A C AjLCULATI NG MACHINE 
By ALBERT FAIR, 80 pages, 25 illuotrations. 

This book gives simple directions for using the common 
steel square for the solution of many complicated calculations 
that occur in tiie everyday work of Carpenters, Builders, 
Plumbers, Engineers, and other Mechanics. 
A NEW SYSTEM OF HAND RAILING 

By an Old Stair Builder, 64 pages, fully illustrated. 

Tells how to cut hand-railing for circular and other stairs, 
square from the plank, without tlie aid of a falling mold. 
STAIR BUILDING MADE EASY 

By DAVID MAYER, 128 pages 111, illustrations. 

Gives a full and clear description of tne art of building the 
bodies, carriages, and cases for all kinds of stairs and steps. 
STEEL SQUARE POCKET BOOK 

By D. L. bTODDARD, 1.59 pages, 150 illustrations. 

The size of this book enables it to be carried in the pocket; 
hence tlie carpenter can always refer to it for the method of 
finding the different cuts used in roof framing, stair work, 
hoppers, towers, bicycle tracks, etc. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



Practical Carpentry 




f\ l/aldjable f/eu/ Booi^ 

By WM. A. RADFORD 

Assisted by 
Wm. Reuther and Alfred W. Woods 



2 LARGE VOLUMES 

600 Pages, (6x9 inches) 

400 ILLUSTRATIONS 

Price, $2.00 Per Set 

Sent fiiepaid on Receipt of Price 

PRACTICAL CARPENTRY is a brand new book that 
is practical from start to finish. Written in simple language 
that a carpenter can understand. No complicated formulas, 
but everything explained in simple language. 

PRACTICAL CARPENTRY shows the best and quick- 
est methods for laying out roofs, rafters, stairs, floors, hopper 
bevels, mitering, coping, splayed work, circular work, in fact it 
covers all sorts of carpentry and joinery work, from the laying 
of the sill to the interior finish, vdth complete illustrations 
showing all the details and explanations about how the work 
is d< ne for windows, cornices, doors, roofs, porch work, special 
chapters showing faulty and good construction,woodwork joints, 
how to file saws, how to figure out a truss, stair building sim- 
plified, ? chapter on modern building construction telling all 
about the different kinds of framing, together vrith a thorough 
treatise on geometry for the use of the carpenter. 

PRACTICAL CARPENTRY is elaborately illustrated 
by over 400 special drawings expressly ma,de lor this book, and 
these plainly show all the details and ai£ aloae worth more 
than the price of the book. 

Each volume of PRACTICAL CARPENTR.Y contains 
50 designs of modern low cost houses, showing perspectives 
and fioor plans. 

Either volume can be had separately at one dollar eac'4. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



Cbe Steel Square 



mi m 

Uses..... 




JL Tnhnik f aui Jnnk 



Wm. 



By WM. A. RADFORD 

Assisted by 
Reuther and Alfred W. Woods 



2 LARGE VOLUMES 

000 Pages, (G X 9 inches.) 



^00 ILLUSTRATIONS 

Price, $2.00 Per Set 

Sent Prepaid on Receipt of Price 

THE STEEL SQUARE is a brand new book from 
cover to cover, just published. The largest and most complete 
book on the subject ever published. Written in plain, simple 
language that every workman can understand from start to 
finish. Information of value that has appeared in former books 
on the subject appears in this book, but all simplified and 
better explained. It is a complete Encyclopaedia about the 
Steel Square. 

TH E STEEL SQUARE is a practical book showing 
how the square is used for the laying out of all sorts of rafters, 
finding the length of jacks, hips, and vaUeys; hopper bevels, 
calculating, measuring, etc. 

This book covers the subject of roof framing from start to 
finish, from a simple roof to complicated hips and valleys and 
tower work. 

THE STEEL SQUARE contains special chapters 
showing how the square is used in laying out stair work and 
hea^^ timber framing, showing how the square is used for laying 
out mortises, tenons, shoulders, braces, etc. 

THE STEEL SQUARE is very elaborately illus- 
trated by over 300 special drawings that have been expressly 
made for this book. They will show you plainly how to do the 
job without wasting time and money on cutting and trying. 

Each voluQie of The STEEL SQUARE contains 50 designs 
of modem low cost houses, showing perspectives and floor 
plans. 

Either volume can be had separately at one dollar each. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



Traming 



Framing 



HOUSE fRAMINC 
BAi^N FRAMING 
ROOF FRAMING 



Describing l)OU$e, 
Barn § Roof framing 

By WM. A. RADFORD 

338 Pages (6x9 inches.) 

182 Illustrations 



PRICE $1.00 

Sent Prepaid on Receipt of Price 

** FRAMING " is the largest, the most complete and 
the most instructive building book ever written. It deals with 
tlie subject of "Framing" in its multitude of forms and designs 
in a most thorough manner. Nothing is omitted that will help 
and guide on the construction of houses, barns, roofs, etc., 
while particular care has been taken to exclude any and every 
method of framing that has not been given a thorough and con- 
vincing test by experienced builders. 

Practical information is the keynote of " FRAMING " 

By practical, we mean information that can be successfully 
applied to the every day work of the average carpenter, builder 
and contractor, as well as the more intricate forms of framing 
that come less often but about which it is necessary to be fully 
posted. The book presents problems as they have been 
worked out by well-known architects and the man on the job. 

" FRAMING " is illustrated with over 100 pages of 
detail drawings, diagrams, detail plates, etc., including many 
pages of full-page plates never before published, reproducing 
architects' original drawings, and al§o details of buildings in all 
stages of construction. 

" FRAM ING " is the largest book on this subject that 
has ever been published. No book attempting to treat this im- 
portant part of construction has ever before so successfully 
covered the ground. Every phase, part and detail of framing a 
house, a roof, a barn or other structure is given and treated fully 
and exhaustively, with complete details showing each successive 
step to be taken. 

" FRAMING " is practical in that it shows the easiest 
and most common-sense way to do the work. It does not con- 
fine its descriptions to one person's ways or views, but shows 
many examples of each kind of framing, all of which have 
been fully tested by experienced workmen and can be relied 
upon to be absolutely correct. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



made 



Roof f raiiiin0 s 




A PRACTICAL SYSTEM OF 

H- MODERN METHODS h- 

By Owen B. Maginnis 



164 Pages, (6x8 inches) 

100 Illustrations 

PRICE, $1.00 



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THE carpenter or builder who will study the methods de- 
scribed in this bonk will realize the constructive value of 
every piece of timber wliich enters into a framed roof and 
will understand how to lay out every piece of timber used with- 
out wasting valuable time and material cutting and trying. 

The language used is that of a practical workman— scientific 
phrases and confusing terms have been ad voided where possible 
—and everything has been made so plain that any one who will 
faithfully study this book will understand it from beginning 
to end. 

Any intelligent mechanic will be able to save at least ten 
times the cost of this book in time and material during the first 
few weeks that he has it in use. 

The following synopsis will give a faint idea of the charac- 
ter and scope of this book : 

The Principle of the Roof ; Laying Out and Framing a Simple 
Roof; Hip and Valley Roofs; Roofs of Irregular Plan; Square 
Pyramidal Roofs ; Pentagonal Roof; Hexagonal Pyramidal Roofs; 
Conic il Roofs; Conical Roofs Intersected by a Pitched Roof; 
Octagonal Roofs; Circular Dome; High-Pi tched Roof ; Mansard 
Roof; Hemispherical Pomes; Elliptic Dome; Circular Molded 
Roof; Gothic Square Roof of 4 Centre Section; Trussed Roof of 
Moderate Span on the Balloon Principle; to Frame a Roof of 
Unequal Heights of Pitches and Plates; Hip and Valley Roof 
of Unequal Pitch ; To Frame a Roof of Unequal Lengths of 
Rafters; Ro-f with Pitched Ridges ; Round-House Roof ; Fram- 
ing cantilever Ro fs; Roof with an Elliptic Plan and Straight 
Ridge; Church Roof Construction; Bow Truss; Studio Roofs; 
How to Build a Cir ular Framed Tower with a Molded Roof: 
Miscellaneous Details and Suggestions. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 






Cement l>ou$e$ 

HU Bow Co Build Cbem. 







The Best and Largest Book 
of Its Kind Ever Published 

170 Pages (8 x 11 inches.) 

^Elaborately irilustrate& 



Hrttstically JSoimb 



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THIS large book contains illustrated details of 
cemen't construction— standard specifications for 
cement— standard specifications for concrete blocks 
—general information concerning waterproofing, 
coloring, aggregates, mixtures, paving, reinforcing, 
foundations, walls, steps, sewer pipes, tile, chimneys, 
floors, porches, use of concrete on the farm, etc., 
together with 

PERSPECTIVE VIEWS and FLOOR PLANS of 

87 CEMENT PLASTER AND 
CONCRETE BLOCK HOUSES 

All houses illustrated with half-tone cuts, printed 
on fine enameled paper. 

The illustrations show the houses exactly as they 
will look when built and give a very clear idea of their 
appearance. All the floor plans are shown, giving 
the location and dimensions of all rooms, closets, 
porches, etc., with detailed information as to both 
interior and exterior. 

The houses illustrated range from the small to the 
medium large in size, such as will appeal to the aver- 
age man or woman who intends to build a home. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



stores d flat Buildiitds 




J\ Brand new BooR 
m$t off the Press 

82 Pages (8 x 11 inches.) 
ELABORATELY ILLUSTRATED 



■. ARTISTICALLY BOUND 



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ABSOLUTELY the first and only book of its kind 
ever published. No more valuable book could 
possibly be imagined for the use of any one contem- 
plating to build for their own use or as a safe and 
profitable investment. 

The latest ideas in Two, Four, Six, and Nine 
Family Flat Buildings, Stores, Lodge Hall, Bank 
Buildings, Double Houses, etc. , contammg 

PERSPECTIVE VIEWS and FLOOR PLANS of 

57 STORES AND FLATS 

Bank Buildings and Double Houses in different con- 
structions ; cement plaster, concrete block, brick, 
stone and frame. Every building illustrated was de- 
signed.by a licensed architect standmg at the head 
of his profession who has made a study of economy of 
construction. Perspective views and floor plans of 
each and every design are shown, giving a picture ot 
the completed building and detail drawings ot the 
interior arrangement. Included in this collection ot 
designs are a "large number of stores and bank build- 
ings suitable for the small town or village as well as 
the large city. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



Garages 

Jind l)Ow to Build Cbem 



(^UKAGES 

AND HOW TO BUiLD THEM 




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JUST PUBLISHED 

158 Pages (8 x 11 inches) 

Elaborately Illustrated 

iAriistically Bound 
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EVERY Auto owner is vitally interested in the subject of 
where to keep his machine. The most convenient place 
is on your own property in a private garage the archi- 
tecture of which is in keeping with your house. 

This book is the only one of its kind and shows a standard 
collection of New, Original and Artistic Designs for Up-to-date 
Private and Public Garages adapted to Frame, Brick, Stone^ 
Cement, Stucco, or Concrete . Construction together with Esti- 
mates of Cost. 

55 DESIGNS OF GARAGES 55 

are shown by perspective views and floor plans giving 
dimensions, etc. Also remarks on GARAGE CONSTRUCTION ex- 
plaining the advantages of each form of constniction and giving 
details about the manner of erection, selection of materials, 
hints on supervision, etc., etc. 

There is also an extensive chapter on GARAGE EQUIPMENT 
and ACCESSORIES in which is described tlie construction and 
operation of turn tables; ga oline storage and pumping; oil 
cabinets; constructing a repair bencli and tool cabinet; lockers; 
rules to prevent freezing of water in cylinders, radiators, etc. ; 
washing apparatus; lighting apparatus; etc. etc. 

It is just the book to give you important points and ideas if 
you are about to bui^d a garage. Its information will save you 
money. 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



Practical Barn Plans 




KAI)R)UD"5 





OUT BUILDINGS, STOCK 
SHEDS, POULTRY HOUSES. ETC. 

150 Pages (8x11 inches) 

ELABORATELY -h ^ 
-I- -r ILLUSTRATED 

ARTISTICALLY •!« 4- 
^ ^ ^ 4. BOUND 

PRICE, $1.00 

Sent Postpaid on Receipt of Price. 



BETTER farm methods require better buildings, 
not necessarily expensive ones, but buildings 
that are well planned and properly adapted to the 
work for which they are intended. This book de- 
scribes and illustrates a large number of dairy barns, 
general farm barns, horse barns, cattle sheds, poultry 
houses, silos, ice houses, granaries, corn cribs, wagon 
sheds, tank houses, smoke houses, hog houses, etc. 

Not only one plan of each, but many of each are 
shown, with all the latest inventions and contrivances 
for saving time, money and labor. 

ELEVATIONS, PERSPECTIVES and PLANS of 

150 PRACTICAL BARN BUILDINGS 

are reproduced on a large scale sufficient to guide any 
carpenter and builder in the construction of same. It 
is a book which should be in every farm home. 

Each and every plan in Practical Barn Plans is 

accompanied by a lengthy written description, ex- 
plaining and giving the details of the drawings, and 
so worded and arranged, numbered and indexed, 
that it can be readily understood by anyone who 
reads it. 

INDUSTPvIAL BOOK CO. 

178 FULTON STREET 

NEW YORK 



NOV 24 1911 



CP^ Ideal Bomes ?==S3 




SIZE of Book 8 X 11 inches, 
bound in English cloth, 
cover embossed and print- 
ed in two colors. All houses 
illustrated with half tone cuts 
on the very finest enamel paper. 
The illustrations show the 
houses exactly as they will 
appear when built, and no 
liberties have been taken to 
make them appear otherwise. 
All the floor plans are shown, 
giving the size and location of 
all rooms, closets, porches, etc.. 
so that ideas are given as to 
both the interior and exterior of 
these 100 homes. 

PRI CE $1.00 POST PAID 

C;ottibinea liouse ana Barn Plans 

Two massive books bound in one and illustrated with over 
twelve hundred Copper Half Tone Plates and Zinc Etch- 
ings which were drawn especially for this work. It con- 
tains over 300 houses, barns and farm buildings, designed and 
drawn by the best architects and selected for their popularity 
with the Building Classes, The houses illustrated were selected 
for their excellence, practical designs and economical arrange- 
ment. Perspective Views and Floor Plans being shown d.m- 
ple e, together with estimates of cost. The farm buildings in 
this book are illustrated by large drawings of floors, sides, ends 
and frame work, together with perspective view^s sufficient to 
guiae the contractor or builder in the construction of any of the 
buildings described. 

PRI CE $1,00 POST PAID 

^ ^ Jlmerkan Bomes ^ ^ 



CONTAINING 100 designs of 
low and medium priced 
houses, never before illus- 
trated, and has met with pheno- 
menal success. The designs are 
all original, practical and up- 
to-date, and have been drawn by 
licensed architects. It is beauti- 
fully bound in English cloth, 
embossed in three colors, 2.56 
pages, size C3^ x 8 inches. The 
houses illustrated are medium 
in price, and such as 80 to 90 per 
cent, of the people of the United 
States wish to build to-day. 



PRICE $1.00 POSTPAID 

INDUSTRIAL BOOK CO. 

178 FULTON STREET 

KEW YORK 





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One copy del. to Cat. Diw zrH^ 



NOV 



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